{"title":"ACTIVE","description":"","products":[{"product_id":"irving-harper-model-2213-asterisk-for-howard-miller-1964","title":"IRVING HARPER MODEL 2213 ‘ASTERISK’ CLOCK FOR HOWARD MILLER (1964)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA model 2213 'Asterisk' clock designed by Irving Harper, working under the auspices of George Nelson Associates, for HOWARD MILLER in 1964.  Harper was a prolific, innovative, and creative artist in his own right; indeed much of Nelson's best-known work was executed by Harper, including some of its most iconic furniture pieces—for example, the 'Marshmallow' sofa and the 'Coconut' chair—in addition to most of the clocks.  Nelson began creating clocks for HOWARD MILLER in 1947.  It is estimated that there are over 150 designs.  The first of these was the famous model 4755, aka the 'Ball' clock.  All the clocks were electrical.  Wall clocks were available with a cord and plug or as a \"Chronopak\" which mounted directly into a standard outlet box.  HOWARD MILLER discontinued the Nelson clock line in the 1980s.  (It was reissued by Vitra in the following decade.)  The 'Asterisk' was originally available only in black or white, though other colors were later added.  The clock on offer has its original electrical cord.  Its body is in excellent vintage condition except that the paint on the hour hand is abraded in one spot where years of friction from the minute hand have left a mark [see photo].  Label on the back and plate on the front.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eStyle – \u003cspan\u003e\u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Year – \u003cspan\u003e\u003cb\u003e1964\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eIRVING HARPER (1916-2015)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eHERMAN MILLER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eENAMEL\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, STEEL\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eWHITE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAdditional Condition Details – \u003cspan\u003epaint on the hour hand is abraded in one spot from years of friction against the minute hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e10.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e3.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845974532,"sku":"IRVING HARPER MODEL 2213 'ASTERISK' CLOCK FOR HOWARD MILLER (1964)","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/asterisk-clock-by-irving-harper-for-howard-miller-1960s-1.jpg?v=1670717957"},{"product_id":"brass-and-ceramic-table-lamp-from-stiffel","title":"TALL STIFFEL BRASS AND CERAMIC TABLE LAMP","description":"\u003cp\u003eA magnificent mid-century solid brass table lamp from the STIFFEL LAMP COMPANY, possibly by designer Edwin Cole. The silky crackle glaze that covers its clay body gradates between celadon and seafoam. The lamp's height to the top of the milk glass diffuser is 38 ½\" and its diameter 8\". Verticality is accentuated with the addition of a vintage drum shade, yielding an overall height of 50\". This lamp has been outfitted with a three-way socket and a two-way in-line switch.\u003c\/p\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY was founded in 1932 by Ted Stiffel (1899–1971) in Chicago, Illinois. Stiffel's ambition was to manufacture portable light fixtures that were intelligently designed and accessibly priced. His dedication to excellence would soom establish the firm as the industry's quality leader.\u003c\/p\u003e\n\u003cp\u003eRaised in Memphis, Stiffel initially pursued a music career. After discharge from service in World War I, he worked for Western Electric in Chicago and then for the lighting firm, Nellie J. Kaplan Co. His own firm began operations by supplying lamps to regional department stores. By the 1940s it owned a factory large enough to produce the volume required for national distribution. STIFFEL was eventually competing with the likes of Frederick Cooper. Its output was celebrated both for its splendid design and the precise craftsmanship it evinced.\u003c\/p\u003e\n\u003cp\u003eDuring World War II, STIFFEL opened a machine screw department to produce bolts for anti-aircraft guns and other components for the war effort. The government contracts were withdrawn following V-J Day in 1945. Architect and designer Edwin J. Cole (1904-1992) joined the firm in 1948. Cole would be responsible for some of STIFFEL's most striking designs. Today his vintage creations—often lamps with distinctively tall and shapely ceramic bodies, sometimes finished with chinoiserie details in brass—are highly sought after by collectors.\u003c\/p\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY has contributed much to the lighting industry over the years: innovations such as the vertical pole lamp and inventions such as the patented Stiffel Switch—not to mention unparalleled accomplishments in design. Following a bankruptcy in 2000, the brand was revived in 2013 in Linden, New Jersey, where newly produced, high-quality lamps again carry the STIFFEL name.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSTIFFEL LAMP COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eHOLLYWOOD REGENCY; BOHO CHIC; MEDITERRANEAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, CERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE 'A' PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 50\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":51845978116,"sku":"TALL STIFFEL BRASS AND CERAMIC TABLE LAMP","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230622_135352-01.jpg?v=1687467289"},{"product_id":"large-geometric-relief-pattern-ceramic-table-lamp","title":"LARGE GEOMETRIC RELIEF PATTERN CERAMIC TABLE LAMP","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis 60s-era, American, ceramic table lamp features a glaze of swirling shades of green, yellow, gold, blue, and brown applied over a bold, geometric, relief pattern.  With a golden neck and base.  The shade is original with matching trim and in excellent vintage condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eMULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, GOLD\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e45.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e18.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845997316,"sku":"LARGE RELIEF PATTERN CERAMIC TABLE LAMP WITH ORIGINAL SHADE","price":765.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/glazed-patterned-ceramic-lamp-1.jpg?v=1506039584"},{"product_id":"italian-carnelian-red-murano-glass-vases-set-of-2","title":"BAROVIER AND TOSO CARNELIAN RED MURANO GLASS VASE","description":"\u003cp\u003eThis carnelian red, mouth-blown, Murano glass bud vase by BAROVIER \u0026amp; TOSO features a ruffled, clear glass base, and a clear glass rim with gold foil inclusions. Pictured is one of two vases that are currently available. (If you were interested in purchasing both, please expect some variation between them owing to the nature of blown glass.)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eItaly\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eItalian Modern; Hand-Crafted\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMouth-blown glass\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eRed, gold\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eFlawless. This vintage item is in its original state. It has no defects and no restorations.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e3ʺ Diam. × 10ʺ H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51846009732,"sku":"BAROVIER \u0026 TOSO (1 OF 2)","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200308_112438-01.jpg?v=1583689659"},{"product_id":"mid-century-1950s-james-mont-style-frederick-cooper-verdigris-bronze-lamp-252745069973","title":"BRONZE FREDERICK COOPER TABLE LAMP IN THE STYLE OF JAMES MONT","description":"\u003cp\u003eA bronze, Asian-themed table lamp with a verdigris patina, produced in the style of James Mont by the FREDERICK COOPER LAMP COMPANY of Chicago, Ill. The Chinoiserie urn-form lamp body is adorned with a flared rectangular silk shade and a ball finial.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFREDERICK COOPER LAMP COMPANY\u003c\/b\u003e grew out of a workshop established in 1923 by Chicagoan Frederick Cooper. Initially focused on sculpture and watercolors, Cooper’s interest shifted to electric lamps, a relatively new invention at the time, when only half of American households had home lighting. Inspired by the architectural grandeur of Chicago, Cooper began crafting unique lamps with intricate details, frequently incorporating the chrome finishes and geometric angles of the popular Art Deco style. By combining materials such as brass, ceramics, glass, and wood, Cooper gained recognition for his forward-thinking approach.\u003c\/p\u003e\n\u003cp\u003eEventually, Cooper sold his company to Benjamin Markle and Russian immigrant Leo Gershanov. Under their stewardship after WWII, the FREDERICK COOPER flourished, and the local artisans at the Stiffel Lamp Company gained a formidable competitor. The timing was particularly ripe as the demand for table lamps to furnish new houses was exploding, and the company built on Cooper’s artistic reputation and his signature styles prospered.\u003c\/p\u003e\n\u003cp\u003eThis was the beginning of a manufacturing tradition that endures today as the brand, FREDERICK COOPER. Over decades, many other lamp businesses faded away, while FREDERICK COOPER held steady, building on a carefully guarded reputation for distinctive styles and superb quality. FREDERICK COOPER lamps have been used in the Whitehouse, US embassies, and luxury resorts around the world.\u003c\/p\u003e\n\u003cp\u003eLighting designers at FREDERICK COOPER innovated in the years that followed, integrating alluring materials like painted porcelain, marble, and jade. Apart from the classic Art Deco designs that defined the studio’s early work, the company’s craftsmen experimented with Asian-inspired designs and produced floor lamps, wall lights, modernist chandeliers, and other fixtures in varying furniture styles such as Neoclassical, Hollywood Regency, and Empire.\u003c\/p\u003e\n\u003cp\u003eDesigners such as Larry Laslo, Alexander Julian, Mario Buatta, and Studio Mascheroni contributed to the supply of fresh new designs. FREDERICK COOPER is perhaps equally famous for its shades, which rise above market standards due to designers’ choice of fabrics, shapes, colors, and details.\u003c\/p\u003e\n\u003cp\u003eIn 2011 Wildwood Lamps purchased the FREDERICK COOPER brand and continues the tradition of producing high-quality luxury lighting. Today, the name FREDERICK COOPER still stands for superlative design and traditional craftsmanship.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eafter JAMES MONT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFREDERICK COOPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eASIAN ANTIQUE; HOLLYWOOD REGENCY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, TEXTILE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, BROWN, VERDIGRIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGreat vintage condition. May show slight traces of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" W × 8\" D × 29 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515752845351,"sku":"BRONZE FREDERICK COOPER TABLE LAMP IN THE STYLE OF JAMES MONT","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220328_152523-01.jpg?v=1648502906"},{"product_id":"mid-century-modern-industrial-foundry-mold-pr-table-lamps-steampunk-machine-age-131636790966","title":"PAIR OF INDUSTRIAL FOUNDRY-MOLD TABLE LAMPS","description":"\u003cp\u003eA pair of “steampunk” table lamps fashioned from antique wooden foundry molds. Both molds date to the early 20\u003csup\u003eth\u003c\/sup\u003e century and bear hand-carved numerical designations—91N and 92N, resp.—betokening their common origin. The painted wood remains in “as-found” condition and has aged naturally; nothing was done to alter its appearance or texture. For this reason, we ask that you inspect the photos closely to ensure that you find nothing objectionable. Our advice would be to leave them in their present condition!\u003c\/p\u003e\n\u003cp\u003eFoundry molds of this sort were pressed into large containers filled with a plastic medium, typically sand. Liquid metal was then poured into the resulting imprint to produce a cast.\u003c\/p\u003e\n\u003cp\u003eAntique molds are increasingly hard to find. They are scooped up either for their sculptural value as “found” art—or, as here, to be repurposed as lamp bases, table legs, or in other furnishings as mementos of America’s Machine Age and a witness to its impact on the culture of the Modern era. Note: the height of the socket is adjustable up and down via a set screw on the brass tube.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eINDUSTRIAL; MODERN; RUSTIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eWOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, BRASS, BROWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eThe foundry mold was well-used before it was converted into lamps. The rustic quality was intentionally preserved; restoration is not advised.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13\" W × 7 ¼\" D × 27\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515797114919,"sku":"INDUSTRIAL FOUNDRY MOLD TABLE LAMPS (PAIR)","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250111_124838.jpg?v=1736622345"},{"product_id":"vintage-raymor-italy-op-art-geometric-italian-ceramic-fat-lava-era-bitossi-bit-132100743821","title":"ALDO LONDI ‘GENOVESE’ DÉCOR ASHTRAY FOR BITOSSI CERAMICHE","description":"\u003cp\u003eA beautiful, orange-and-black ashtray with touches of yellow in Aldo Londi’s impressed \u003ci\u003eGenovese\u003c\/i\u003e décor for BITOSSI CERAMICHE. Usually seen in shades of blue and green, this orange version is a bit less common, and we think it really pops against the matt black underglaze. Since smokers are in the minority these days, we like to mention that ashtrays can pull double (or triple) duty as stylish candy dishes or catchalls.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet Tuscan hamlet of Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under Italian fascism. The young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of local sculptor Torello Santini (1875–1946) and, with his referral, took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a brief stint at Bitossi Ceramiche in nearby Montelupo, where famed ceramist Aldo Londi (1911–2003) took him under his wing.\u003c\/p\u003e\n\u003cp\u003eAfter the Second World War, Pugi helped Bagni finance the opening of a studio of his own in Lastra a Signa, BAGNI CERAMICHE. Several family members were employed there, including wife Gina. (She would continue to work alongside Bagni throughout his career.) An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eDuring the ’50s and ’60s, Bagni established and nurtured pivotal collaborations with Bitossi and the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. Such alliances allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito, among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio pieces. The latter perhaps represent the very best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. Bagni was always experimenting, and he produced some truly radical glaze and color combinations. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns, and blacks. Bagni often incorporated rings or other small metal pieces within his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980, BAGNI CERAMICHE had nearly 100 employees and was internationally renowned for high-quality, artistic productions as well as its innovative methods. As the world increasingly opened up to global competition, however, the company found itself in financial straits. Married as it was to an “artisanal” approach, it struggled to withstand the downward pressure on prices. Despite Bagni’s noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning buyers. Nuove Forme owns many of Bagni’s historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eORANGE, BLACK, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" DIAM. × 3\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2606572929063,"sku":"ALDO LONDI 'GENOVESE' DECOR ASHTRAY FOR BITOSSI CERAMICHE","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240202_175700-01.jpg?v=1706920359"},{"product_id":"raymor-large-ashtray-mid-century-orange-rustic-192094511052","title":"BORGINI ASHTRAY WITH IRON RINGS BY BAGNI CERAMICHE FOR RAYMOR","description":"\u003cp\u003eA large, burnt orange and olive drab ashtray with iron rings in the \u003ci\u003eAUTUMN SUNSET\u003c\/i\u003e glaze designed by Enzo Borgini for BAGNI CERAMICHE. Borgini was a mid-century master unto himself who occasionally lent his distinctive artistry to the studio of Alvino Bagni, becoming a favorite collaborator. Imported by Raymor.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet Tuscan hamlet of Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under Italian fascism. The young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of local sculptor Torello Santini (1875–1946) and, with his referral, took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a brief stint at Bitossi Ceramiche in nearby Montelupo, where famed ceramist Aldo Londi (1911–2003) took him under his wing.\u003c\/p\u003e\n\u003cp\u003eAfter the Second World War, Pugi helped Bagni finance the opening of a studio of his own in Lastra a Signa, BAGNI CERAMICHE. Several family members were employed there, including wife Gina. (She would continue to work alongside Bagni throughout his career.) An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eDuring the ’50s and ’60s, Bagni established and nurtured pivotal collaborations with Bitossi and the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. Such alliances allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito, among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio pieces. The latter perhaps represent the very best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. Bagni was always experimenting, and he produced some truly radical glaze and color combinations. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns, and blacks. Bagni often incorporated rings or other small metal pieces within his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980, BAGNI CERAMICHE had nearly 100 employees and was internationally renowned for high-quality, artistic productions as well as its innovative methods. As the world increasingly opened up to global competition, however, the company found itself in financial straits. Married as it was to an “artisanal” approach, it struggled to withstand the downward pressure on prices. Despite Bagni’s noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning buyers. Nuove Forme owns many of Bagni’s historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eENZO BORGINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ITALIAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, IRON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBURNT ORANGE, OLIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show slight signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e10 ½\" W × 9\" D × 2 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2606594392103,"sku":"BORGINI ASHTRAY WITH IRON RINGS BY BAGNI CERAMICHE FOR RAYMOR","price":185.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240202_141507-01.jpg?v=1706910293"},{"product_id":"symfoni-pendant-chandelier-by-preben-dahl-dal-lyfa-lamp-mid-century-modern-152384752041","title":"‘SYMFONI’ PENDANT BY PREBEN DAL FOR HANS FØLSGAARD (1960s)","description":"\u003cp\u003eA spectacular pendant light fixture from Preban Dal's legendary 'Symfoni' series, designed in the early '60s for Hans Følsgaard Elektro A\/S of Denmark. The steel frame is painted white and gray and comprises rings of rhomboid facets—evoking origami—that diffuse the internal light and scatter it in visually interesting patterns. It is fully functional and in very good vintage condition, showing some age-appropriate wear and a limited amount of oxidation.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePREBEN DAL\u003c\/b\u003e largely remains a mystery. Thanks to a vintage advertisement printed in an early issue of the historic Danish design magazine \u003ci\u003eMobilia\u003c\/i\u003e, were persuaded that the correct spelling of his surname is 'Dal' rather than 'Dahl.' More importantly, it is very well documented that he designed the fantastic and immediately recognizable 'Symfoni' range of pendant lamps and sconces in the very early 1960s for the lighting manufacturer HANS FØLSGAARD A\/S of Copenhagen. Further snippets of somewhat less certain biography include an alleged partnership with a Danish architect named Ole Bang, from 1959 to 1976, and the publication in 1957 of a pamphlet on Greek temples and, in 1969, of a book entitled \u003ci\u003eFritidshuset\u003c\/i\u003e about the architecture of vacation homes.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePREBEN DAL (1929–1980)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eHANS FØLSGAARD A\/S\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eDANISH MODERN; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTEEL, ENAMEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), HARDWIRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e15\" DIAM. × 15\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2626985328679,"sku":"'SYMFONI' PENDANT LAMP BY PREBEN DAHL FOR HANS FØLSGAARD","price":1960.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20221021_172032_1-01.jpg?v=1689787364"},{"product_id":"mid-century-modern-large-hand-painted-italian-pot-raymor-bitossi-bagni-fantoni-291785758900","title":"LARGE HAND-THROWN ITALIAN VASE ATTRIB. ALVINO BAGNI","description":"\u003cp\u003eA lovely Italian vase attributed to Alvino Bagni. It stands 13 ¾\" tall, with a sgraffito zig-zag décor covered in a frothy glaze, in shades of yellow, green, and orange on top of what appears to be a black underglaze. It is unmarked except for the word “Italy,” but the glaze’s texture and colors are very much like a line of pottery that Bagni produced for Raymor in the 1960s. It is also hand-turned and very well-made.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet Tuscan hamlet of Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under Italian fascism. The young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of local sculptor Torello Santini (1875–1946) and, with his referral, took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a brief stint at Bitossi Ceramiche in nearby Montelupo, where famed ceramist Aldo Londi (1911–2003) took him under his wing.\u003c\/p\u003e\n\u003cp\u003eAfter the Second World War, Pugi helped Bagni finance the opening of a studio of his own in Lastra a Signa, BAGNI CERAMICHE. Several family members were employed there, including wife Gina. (She would continue to work alongside Bagni throughout his career.) An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eDuring the ’50s and ’60s, Bagni established and nurtured pivotal collaborations with Bitossi and the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. Such alliances allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito, among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio pieces. The latter perhaps represent the very best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. Bagni was always experimenting, and he produced some truly radical glaze and color combinations. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns, and blacks. Bagni often incorporated rings or other small metal pieces within his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980, BAGNI CERAMICHE had nearly 100 employees and was internationally renowned for high-quality, artistic productions as well as its innovative methods. As the world increasingly opened up to global competition, however, the company found itself in financial straits. Married as it was to an “artisanal” approach, it struggled to withstand the downward pressure on prices. Despite Bagni’s noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning buyers. Nuove Forme owns many of Bagni’s historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALVINO BAGNI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eYELLOW, BLACK, GREEN, ORANGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. May show minor traces of previous use. A glaze skip near the top occurred in the production process but is well camouflaged and barely noticeable. (See photos.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 13 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2627152314407,"sku":"LARGE HAND THROWN ITALIAN VASE ATTRIBUTED TO ALVINO BAGNI","price":480.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240201_115457-01.jpg?v=1706831931"},{"product_id":"vintage-zaccagnini-italian-ming-chinese-ceramic-pottery-vase-raymor-blossoms-130952860788","title":"EARLY UGO ZACCAGNINI CHINOISERIE  VASE WITH CHERRY BLOSSOMS","description":"\u003cp class=\"vip item-title\" itemprop=\"name\"\u003e\u003cmeta charset=\"utf-8\"\u003eA vintage 1930s Ming style ceramic vase with a cherry blossom relief decor in shades of blue and brown, designed by Ugo Zaccagnini for Ugo Zaccagnini \u0026amp; Figli, Italy.\u003c\/p\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cstrong\u003e\u003cspan\u003eZACCAGNINI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e was originally founded in Florence in 1905 as Ugo Zaccagnini \u0026amp; Figli (...\u0026amp; Children).  Its namesake and founder, Ugo Zaccagnini (1868-1937), was born in Pistoia in Tuscany and studied at the Scuola di Disegno Industriale in Sesto Fiorentino.  He next worked as a plaster modeler for the Richard-Ginori Ceramic Company in Sesto before opening a studio of his own in that municipality.  It closed in 1896 when Zaccagnini entered into a partnership with six of the most talented artisans and craftsmen in Florence of the time:  Egisto Fantechi, Luigi Ceccherini, Augusto Fantini, Francesco Grassi, Paolo Banchelli, and Giuseppe Conti.  The enterprise was called La Societa Industriale per Fabbricazione della Maioliche Artistiche (the Society for Industrial Fabrication of Majolica Art) and known by the acronym SIFMA.  Zaccagnini served as master sculptor and model maker during his years with SIMFA.  Production was confined to the recreation of traditional majolica in the Renaissance style of the 15th and 16th centuries, for which Italy was then famous.  Zaccagnini, in the meantime, had grown increasingly enamored of the current Art Nouveau movement; he saw in its elements unprecedented freedom of design possibilities.  This artistic difference would eventually lead to SIFMA's breakup.  In 1905 Zaccagnini left to open once again a factory of his own in Florence, this time with the help of sons Pietro, Urbano, and Prisco and daughters Adele and Enrichetta.  The new studio produced the standard offerings of the traditional Italian potter, but it was Zaccagnini's new and surprising artistic creations that caught the art world's attention.  He would eventually become famous for both his Art Nouveau and, later, his Art Deco figures.  The latter are highly prized today.  In 1912 the company relocated to Florence’s Piazza Pier Vettori, where it boosted output.  Zaccagnini exhibited at the Florence Crafts Exhibits and the Milan Triennale and Trade Fair.  In 1928 the factory was again expanded, taking over the industrial complex of a former fireworks factory on Via Monte Oliveto.  The complex was set up like a village for its craftsmen, with individual houses serving as workshops.\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cp\u003e\u003cspan\u003eUgo Zaccagnini passed away in 1937 at the age of 69.  His firm’s overall management became the responsibility of his second eldest son, Urbano Zaccagnini (1901-1964), and its name was changed to Società Anonima Ceramiche Zaccagnini.  A new logo was created —a capital \"Z\" with a squiggly line through it meant to represent Monte Oliveto.  Urbano Zaccagnini immediately set about changing the company’s direction.  With the help of entrepreneur Aristide Loria, he modernized production technology and enlarged capacity.  Urbano Zaccagnini serving as artistic director, ZACCAGNINI collaborated on designs with new artists:  Mario Bandini, Ottorino Palloni, Maurizio Tempestini, Gino Pozzi, renowned ceramist Leopold Anzengruber, majolica painter U. Ciardella, sculptor L. Contini, and Fosco Martini.   The factory’s production focused almost exclusively on decorative wares at this time.  A line of very popular animal figurines and graceful women in the Art Deco style was developed, and the company began to export its products, with North America as the primary target.  Ties with American importers were cultivated, Zaccagnini personally making numerous trips to meet with American clients face to face.  ZACCAGNINI figurines began appearing in stores such as Tiffany’s.  In 1938 Zaccagnini obtained a license from Walt Disney Productions to create, in clay, Disney Studios' famous animated characters.  The fame of the ZACCAGNINI name in the US was thus ensured.  Mario Bandini had quickly modeled Snow White and the Seven Dwarfs, produced for sale at the Italian national preview of the feature at the Cinema Teatro Verdi (owned by former SIFMA partner Egisto Fantechi).  Though expensive, all available pieces sold out immediately.  All were personally signed by Zaccagnini and marked \"W1.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eZACCAGNINI would eventually produce more than 150 Disney figurines—the likes of Donald Duck, Pluto, Pinocchio, Alice in Wonderland, and Peter Pan—all in a special crystalline glaze secretly made in its factory.  The firm also created Disney salt-and-pepper shakers, children’s plates, cups, mugs, and other assorted Disneyana; some figurines today command prices in the thousands of dollars.  Inactive during WWII, ZACCAGNINI reopened in 1945.  In 1947 it was commissioned to manufacture reproductions of ancient ceramics for New York's Metropolitan Museum of Art.  ZACCAGNINI reached peak production in the late '40s and '50s, during which time many simpler Modernist-inspired ceramic works were produced, as well as an abstraction-inspired line called 'Svedese' (Swedish).  In 1950 several ZACCAGNINI ceramics were exhibited in the Italian Crafts Exhibition at the Brooklyn Museum.  In the US, much of the work from this period was likened to the \"Hollywood Regency\" style, then en vogue. It combined classical and modernist traits with more opulent decorative flourishes.  By now, ZACCAGNINI was exporting all over the world and fast becoming collectible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePietro, Zaccagnini's older brother, died in 1954.  In 1958, after twenty years of successful leadership, Urbano left the company to open his own ceramics studio, Urbano Zaccagnini Ceramiche Artistiche.  He passed away in 1964, as did his younger brother Prisco the following year.  This left the company to the sisters Adele and Enrichetta and Ugo Zaccagnini's grandchildren.  It continued to operate, but much of its former luster had been lost.  In the 1980s, the firm turned exclusively to the production of ceramic bases for high-end lamp manufacturers.  Many of these were created using Art Nouveau and Art Deco molds from the '30s and '40s.  They often bear the Zaccagnini signature and command premium prices.  ZACCAGNINI closed its doors in 2000, but many family members have since opened their own studios in and around Florence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e5.75ʺW × 5.75ʺD × 14.75ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eChinoisere\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eZaccagnini\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDesigner\u003c\/dt\u003e\n\u003cdd\u003eUgo \u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eZaccagnini\u003c\/span\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1930s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eItaly\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eCerulean\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\n\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003cspan class=\"hidden js-swap-sibling\"\u003e\u003c\/span\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdiv class=\"product-info-footer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 423px; top: 1993.98px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2632945205287,"sku":"EARLY ZACCAGNINI VASE WITH CHERRY BLOSSOMS","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220520_114615-01.jpg?v=1653087966"},{"product_id":"midcentury-9-1-4-d-ash-tray-italy-sgraffito-orange-182491912012","title":"LARGE BITOSSI ‘CAMPUS’ DÉCOR ASHTRAY (NEVER USED)","description":"\u003cp\u003eAldo Londi \u003ci\u003eCampus\u003c\/i\u003e décor ashtray in orange, dark tan, and reddish brown, with a touch of pale yellow, for BITOSSI CERAMICHE (1960s). Measuring 23.5 cm in diameter, sitting 5 cm tall. Condition is pristine!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino—a medieval hilltop Tuscan town with an ancient tradition of ceramic production, located a few kilometers outside Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, as painters, but especially as potters. In the 20\u003csup\u003eth\u003c\/sup\u003e century, under Guido's leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, the master ceramist Aldo Londi (1911-2003) was named creative director at BITOSSI CERAMICHE. He would hold the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. At the same time, he keenly appreciated the streamlined forms of the mid-century moment. He is perhaps best known for his \u003ci\u003eRimini Blu\u003c\/i\u003e collection, an iconic series comprised of over 150 designs; it is still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi's tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass (1917-2007). An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials related to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO LONDI (1911-2003)\u003c\/b\u003e was one of Italy's most celebrated master ceramists. He spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics firm Bitossi Ceramiche.\u003c\/p\u003e\n\u003cp\u003eJust outside of Florence, Londi’s hometown of Montelupo Fiorentino had been an important center of pottery production in Tuscany since the Renaissance. At the age of eleven, in 1922, Londi went to work for the region’s then-premier ceramics workshop, Fratelli Fanciullacci (Fanciullacci Bros.). There he would master the time-honored methods of the local industry. Following WW II—upon his return to Italy from South Africa, where he was held captive as a prisoner of war—Londi became creative director at a second Montelupo manufactory, Bitossi Ceramiche. He would retain the position for more than 50 years.\u003c\/p\u003e\n\u003cp\u003eLondi's high-level technical expertise and vast experience in traditional artisanal methods allowed him to create distinctively expressive and whimsical forms and finishes for Bitossi. His best-known collection is perhaps the 1950s-era \u003ci\u003eRimini Blu\u003c\/i\u003e, a now-iconic midcentury series that encompasses over 150 designs. The décor is a vibrant blue, densely embossed with abstract shapes and motifs that often create a frieze—fantastic loops of geometric elements endlessly chasing each other, enhanced by touches of green and cobalt. This proprietary decoration holds historical importance as it helped to bring handcrafted works into the modernist design conversation in Italy. Although not the only color Londi utilized, blue has become closely associated with his work. Londi’s last solo collection, \u003ci\u003eARKitectura\u003c\/i\u003e, is a striking exception—it features elegantly minimalistic animal figures—fish, cats, shorebirds—glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with the legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi an important mentor. During his tenure with Bitossi, Londi would also work with Piero Fornasetti (1913-1988), Matteo Thun (b. 1952), and Karim Rashid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections, are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eORANGE, BROWN, LIGHT YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent unused vintage condition. Pristine.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e9 ¼\" DIAM. × 2\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2639825928231,"sku":"BITOSSI 'CAMPUS' DECOR ASHTRAY (NEVER USED)","price":135.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231223_145322-01.jpg?v=1703365824"},{"product_id":"alvino-bagni-for-raymor-italy-double-gourd-sea-garden-pottery-vase-mid-century-292063351371","title":"LARGE ALVINO BAGNI DOUBLE-GOURD VASE FOR RAYMOR","description":"\u003cp\u003eA large, orange and green, double-gourd bouquet vase designed by the great Alvino Bagni for American importer Raymor. The blending glazes form a flowing, mottled surface—accented by orange sgraffito dots and indentations. Original Raymor tag attached underneath.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet Tuscan hamlet of Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under Italian fascism. The young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of local sculptor Torello Santini (1875–1946) and, with his referral, took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a brief stint at Bitossi Ceramiche in nearby Montelupo, where famed ceramist Aldo Londi (1911–2003) took him under his wing.\u003c\/p\u003e\n\u003cp\u003eAfter the Second World War, Pugi helped Bagni finance the opening of a studio of his own in Lastra a Signa, BAGNI CERAMICHE. Several family members were employed there, including wife Gina. (She would continue to work alongside Bagni throughout his career.) An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eDuring the '50s and '60s, Bagni established and nurtured pivotal collaborations with Bitossi and the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. Such alliances allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito, among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio pieces. The latter represent perhaps the very best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. Bagni was always experimenting, and he produced some truly radical glaze and color combinations. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns, and blacks. Bagni often incorporated rings or other small metal pieces within his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980, BAGNI CERAMICHE had nearly 100 employees and was internationally renowned for high-quality, artistic productions as well as its innovative methods. As the world increasingly opened up to global competition, however, the company found itself in financial straits. Married as it was to an \"artisanal\" approach, it struggled to withstand the downward pressure on prices. Despite Bagni's noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning buyers. Nuove Forme owns many of Bagni's historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALVINO BAGNI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT, MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eORANGE, GREEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show slight traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" DIAM. × 8\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2639828615207,"sku":"LARGE ALVINO BAGNI DOUBLE-GOURD VASE FOR RAYMOR","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231222_154351-01.jpg?v=1703282437"},{"product_id":"art-pottery-low-bowl-plate-thistle-alex-salto-for-ipsens-widow-near-mint-172592316356","title":"AXEL SØRENSEN ‘THISTLE’ RELIEF DISH FOR P. IPSENS ENKE","description":"\u003cp\u003eA decorative stoneware dish with a gorgeous design in high relief of an artichoke and bees designed by Axel Sørensen in 1939 for P. Ipsens Enke (aka P. Ipsen’s Widow), and glazed in Ipsen’s proprietary \u003ci\u003eDekorativglasur\u003c\/i\u003e (decorative glaze) developed by Bertel Ipsen around 1910. Early examples of this blended and brightly colored matt glaze were mostly yellow to brownish, but later became a more orangey yellow, graduating into green.  This very popular orange and green colorway is found on much of Ipsen’s work during this era. The thistle design has a beautifully textured and detailed high relief typical of much of Ipsen’s output.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAXEL SORENSEN (1891–1967)\u003c\/b\u003e was a Danish ceramicist who worked for Ipsens Enke from 1923 to 1945. Not much is known about him, except that he was the son of a fisherman. He was an apprentice at Ipsen and became an important influence there. K. Jørgensen and B. Holst (in ‘Et keramisk eventyr’ about Ipsen) list 348 different items assigned to Axel Sørensen.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eP. IPSENS ENKE (1843–1955)\u003c\/b\u003e was established in 1843 by potter Rasmus Peter Ipsen (1815–1860) from Bornholm. When Ipsen was 13 years old, he was sent into service at a brickyard, where he, in his own words, was carrying 4000 bricks every day, which marked him for the rest of his life. Later, he was apprenticed with a joiner who worked him from 5 am to 10 pm, which was so bad for his constitution that he had to quit. In 1833, a school friend found a job for him as a trainee at The Royal Porcelain Factory (later Royal Copenhagen), where he soon became a master thrower with an excellent sense of design and color. His sharp eye for shape made him a favorite of Gustav Friedrich Hetsch. After completing his apprenticeship, Ipsen remained at the Royal Porcelain Factory for six years.\u003c\/p\u003e\n\u003cp\u003eAt 28, Ipsen married Louise Christine Ipsen (1822–1905) and established his own pottery on April 15th, 1843, in Nørrebro. His products included hanging flower pots in terracotta, which became the livelihood of the factory, but also pots, lamps, water coolers, and tea sets, as well as replicas of antique Greek amphora vases and vessels painted in oil colors, and figurines, often inspired by the Danish sculptor Bertel Thorvaldsen (1770–1844). At first, he had no oven and had to fire his output at the Royal Porcelain Factory.\u003c\/p\u003e\n\u003cp\u003eIpsen initially experienced difficulty selling his creations to the city’s many porcelain vendors. Still, demand slowly increased, and by 1847, he could buy a small piece of land and build a new workshop at Frederikssundsvej in Utterslev. He opened a ceramics shop at Bredgade 31 the following year. In 1852, he was represented in an exhibition at Christiansborg Riding Grounds.\u003c\/p\u003e\n\u003cp\u003ePeter Ipsen died early at only 45 years old. His widow Louise Ipsen continued his work, which was unusual in those days, but she had a good knowledge of the factory and had always been a regular visitor there. This was when the factory became known as \u003ci\u003eIpsens Enke\u003c\/i\u003e (Ipsen’s Widow). Hermann Bonfils became the company’s manager, and Peter and Louise Ipsen’s son, Bertel Ipsen (1846–1917), became an apprentice under Bonfils in 1861 and became the formal manager of the company when Bonfils was drafted in 1865. Still, his mother continued to play a central role in the operations.\u003c\/p\u003e\n\u003cp\u003eBertel Ipsen continued in his father’s footsteps with the “Thorvaldsen Style.” He was represented at most world exhibitions and opened shops in Paris and London. Bertel Ipsen developed the blended and brightly colored matt glaze referred to as \u003ci\u003eDekorativglasur\u003c\/i\u003e (decorative glaze) around 1910. Initially, it was yellow to brownish, and later, it became a more orangey yellow, graduating into green. The factory experienced a lull in popularity at the end of the 1800s. Still, after receiving a silver medal at the World’s Fair in Paris in 1900, it became hugely popular again, thanks to this glaze, and continues to be famous amongst collectors—although it seems to be better known outside of Denmark. Many later items are decorated with more elaborate patterns, such as animals or birds. Later, Ipsens Enke developed several other interesting glazes, e.g., the so-called \u003ci\u003eDanit\u003c\/i\u003e glaze.\u003c\/p\u003e\n\u003cp\u003eIn 1895, Ipsens Enke was converted into a family-owned limited company and began producing glazed stoneware with more modern designs as the Art Nouveau style exploded on the scene. Many iconic Danish potters and designers started or worked for periods at Ipsen’s, including Axel Salto, Axel Sorensen, Georg Jensen, Just Andersen, Bode Willumsen, Arne Bang, Thorvald Bindesbøll, Christian Joachim Jensen, and Johannes Hedegaard to name a few.\u003c\/p\u003e\n\u003cp\u003eThe company was represented at the Nordic exhibitions in Malmö in 1861, Stockholm in 1866, the Exposition Universelle in Paris in 1867, and The Great Exhibition in London in 1870. 1871 P. Ipsens Enke was granted the predicate \u003ci\u003ePurveyor to the Court of Denmark\u003c\/i\u003e. The company won a gold medal at a competition in Amsterdam in 1877.\u003c\/p\u003e\n\u003cp\u003eWorks from Ipsens Enke are represented in the collections of Neue Pinakothek in Munich, the National Museum in Stockholm, the Los Angeles Museum, the Cleveland Museum, the Brooklyn Museum, Carnegie Institute in Pittsburgh, National Museum of Finland in Helsinki, Metropolitan Museum of Art in New York City, Danish Design Museum in Copenhagen, Les Amis des Musees de la ville de Mons in Brussels, National Arts Club in New York City, and the National Museum of Latvia in Riga.\u003c\/p\u003e\n\u003cp\u003eP. Ipsens Enke closed in 1955.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eAXEL SØRENSEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1930s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eP. IPSENS ENKE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSTYLES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eORANGE \u0026amp; GREEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e0 0\" W[\/DIAM.] × 0 0\" D × 0 0\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2639879733287,"sku":"AXEL SØRENSEN 'THISTLE' RELIEF DISH FOR P. IPSENS ENKE (DENMARK)","price":465.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231117_182003-01.jpg?v=1700266958"},{"product_id":"vintage-60-70s-ruscha-keramik-311-fat-lava-blue-vase-west-german-pottery-art-382129091388","title":"RUSCHA KERAMIK ‘CORTINA’ EWER VASE Nr. 311\/4 (1980s)","description":"\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"display-item-id\"\u003e\n\u003cp\u003eA blue and tan fat lava 'Cortina' decor ewer vase Nr. 311\/4 from Ruscha Keramik. (1980s vintage)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRUSCHA KERAMIK \u003c\/strong\u003ewas launched in 1948 when Rudolf Schardt assumed the management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia. (RUSCHA is a syllabic abbreviation of his name.) The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom. RUSCHA KERAMIK became a leading manufacturer during the \"golden age\" of Western German ceramics and is credited with some of the era's key developments. It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape. Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.\u003c\/p\u003e\n\u003cp\u003eRUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases. Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes. When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: White clay was used practically exclusively. The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Embossed and incised base-numbering was used for vessels. If a vase was made in more than one size, a single digit indicating relative size followed the form number. Low form numbers (\u0026lt; 100) were sometimes preceded by a letter. Like a few other manufacturers, RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors. Pieces were never molded with \"Germany\" or \"West Germany.\"\u003c\/p\u003e\n\u003cp\u003eIn rare instances, bases were hand-inscribed—less often, painted—with the name RUSCHA and a décor name (these tend to be earlier 1950s items). Where stickers are found they always read \"Ruscha Art.\" Many items were not stickered. Sometimes a retailer's label was applied.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e5.25ʺW × 6ʺD × 11ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eModern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1980s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eBlue\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 169px; top: 895.297px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":5555200065575,"sku":"CLASSIC RUSCHA KERAMIK 'CORTINA' EWER VASE Nr. 311\/4","price":178.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220322_143259-01.jpg?v=1648071968"},{"product_id":"173003427777-ruscha-german-vintage-60s-mid-century-modernist-space-age-fat-lava-vase","title":"RUSCHA KERAMIK FAT LAVA ‘CORTINA’ VASE Nr. R-15","description":"\u003cp\u003eA stepped fat lava cylinder vase # R-15 from Ruscha Keramik.  This flowing deep blue and tan glaze combination is called 'Cortina' and dates to the 1980s.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eRUSCHA KERAMIK was launched in 1948 when Rudolf Schardt assumed the management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia. (RUSCHA is a syllabic abbreviation of his name.) The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom. RUSCHA KERAMIK became a leading manufacturer during the \"golden age\" of Western German ceramics and is credited with some of the era's key developments. It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape. Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.\u003cbr\u003e \u003cbr\u003e RUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases. Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes. When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003cbr\u003e \u003cbr\u003e Notes on identification: White clay was used practically exclusively. The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Embossed and incised base-numbering was used for vessels. If a vase was made in more than one size, a single digit indicating relative size followed the form number. Low form numbers (\u0026lt; 100) were sometimes preceded by a letter. Like a few other manufacturers, RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors. Pieces were never molded with \"Germany\" or \"West Germany.\"\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e5ʺW × 5ʺD × 9.75ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eModern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1980s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eBlue\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13910218637354,"sku":"RUSCHA KERAMIK FAT LAVA 'CORTINA' VASE Nr. R-15","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220322_143522-01-01.jpg?v=1648141035"},{"product_id":"391931773442-large-15-vintage-60-70s-scheurich-red-black-fat-lava-vase-west-german-pottery","title":"LARGE SCHEURICH KERAMIK RED \u0026 BLACK FAT LAVA VASE Nr. 529\/38","description":"\u003cp\u003eA wonderful black and red fat lava vase from Scheurich Keramik.  At 14.75\" tall, it is sure to make a statement on its own or filled with a beautiful flower arrangement.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSCHEURICH\u003c\/strong\u003e had its origins in a joint venture launched in 1928 by Alois Scheurich and his cousin Fridolin Greulich in the small town of Schneeberg near the Czech border in Saxony—wholesaling glass, porcelain, and ceramics. The business was moved to the market community of Kleinheubach in the northeast corner of Bavaria in 1938, and ten years later the partners began producing household ceramics of their own, selling them under the name Scheurich \u0026amp; Greulich. In 1954 the partnership was dissolved, and Alois founded Scheurich GmbH \u0026amp; Co. KG to continue production on his own.\u003c\/p\u003e\n\u003cp\u003eThe celebrated designer Heinz Siery was recruited in 1955 as Scheurich’s lead form designer, but in addition to an extensive range of shapes, he was also key in helping the company develop a successful overarching production strategy, which was to produce a wide array of simple forms that could be produced cheaply and decorated in a great variety of glazes. This resulted in a range of pieces that were both varied and economically adaptable. The approach proved altogether successful and led to Scheurich’s hegemony beginning in the late 1960s.  The company's strategy of keeping its prices low combined with an enormous range of attractive designs resulted in millions in sales and the designs were adapted twice a year to the changing tastes of the public.\u003c\/p\u003e\n\u003cp\u003eScheurich mainly made vases and flowerpots but also produced ashtrays, piggy banks, candle stands, beer mugs, buffet clocks, wall reliefs, and Christmas tree holders. Scheurich, with a few exceptions, did not make kitchen clocks or lamp bases.\u003c\/p\u003e\n\u003cp\u003eThe most successful vase models come in dozens of glaze versions (decors), for example, Heinz Siery designed vase model 271-22 in 1959 and it was fashionable for decades with a variety of changing glaze options. Another important designer for the shapes was A. Seidel. The main glaze designer was Oswald Kleudgen.\u003c\/p\u003e\n\u003cp\u003eSome well-known motifs are Montignac (1972-1973; hand-painted), Amsterdam (onion motif\/Zwiebeldekor; 1974-1975), Fabiola (dark brown-red overflow glaze), and Jura (fossil\/snail motif).\u003c\/p\u003e\n\u003cp\u003eSome designs were made especially for export purposes; on the bottom of those vases is not \"West Germany\", but \"foreign\". Nevertheless, vases with \"foreign\" also ended up on the home market.\u003c\/p\u003e\n\u003cp\u003eThe vases were fired at 1000 degrees Celsius and came from molds. The most extreme glazes and patterns remained in West Germany. Red and orange vases sold best. Yellow and purple less. Large floor vases cost 40-50 Deutsche Mark (20-25 euros) each and were for sale in the Karstadt and Kaufhof department stores. At least 500 pieces of each vase were made.\u003c\/p\u003e\n\u003cp\u003eBy the late 1980s, shapes and color schemes became plainer and the work less attractive to collectors.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e6.5ʺW × 6.5ʺD × 14.75ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eMid-Century Modern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eScheurich Keramik\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eRed\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13913443860522,"sku":"SCHEURICH RED \u0026 BLACK FAT LAVA VASE Nr. 529\/38","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220427_161415-01.jpg?v=1653165369"},{"product_id":"352208869770-marei-chimney-2004-25-cms-fat-lava-west-german-pottery-vintage-60s-70s-vase","title":"10-INCH MAREI CHIMNEY VASE Nr. 2004 (1970s)","description":"\u003cp\u003eA heavy-duty MAREI KERAMIK chimney vase with a lumpy fat lava glaze in shiny red. Form Nr. 2004. Produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMAREI KERAMIK\u003c\/b\u003e was founded in the town of Rheinbach, about 20 km southeast of Bonn in Western Germany, as Majolikafabrik Rheinbach Jean Fuss \u0026amp; Sohn in 1948. That was the year that financial difficulties associated with war forced the potter Fuss and his erstwhile partner, the modeler Josef Emons, to dissolve their terracotta business. Fuss \u0026amp; Emons had been launched in 1921, when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik. Its output consisted of flowerpots, ornamental ceramics, and eventually drainage pipes. With the start of WWII, production came to a near standstill—with the exception of the inserts for the so-called \"Hindenburg Leichter,\" an important source of wartime emergency lighting. The full program was resumed as conditions normalized after the war; nevertheless, the men decided to part ways. (Emons established ES [Emons \u0026amp; Sohne] Keramik with his sons in the same year.)\u003c\/p\u003e\n\u003cp\u003eIn 1951 Jean Fuss's son unexpectedly died in an automobile accident. The company retained its legal name, but it did adopt the DBA \"MAREI\" at that point—a syllabic contraction of MAjolikafabrik RhEInbach. The focus of MAREI's initial production program was flowerpots and vases with simple surface decorations, often hand painted in engobe. In 1957, however, daughter Hildegard Fuss and her husband Wolfgang Bruchhausen joined the family business (the latter would soon assume management of the company). Soon thereafter they engaged the well-known designer Bodo Mans to enrich the MAREI product line. When Mans left a year later, he was succeeded for a short time by Walter Weiland. Weiland in turn moved on to Fohr Keramik where he rose to head of design.\u003c\/p\u003e\n\u003cp\u003eIt was once generally thought that MAREI had been a fairly small company and that their output peaked in the 1950s. However, further research has shown that it was actually something of a manufacturing powerhouse and that some of its best work was produced in later decades. Catalog discoveries have credited to MAREI many pieces previously attributed to Roth Keramik. (The work of historians has been confounded by MAREI's unhelpful practice of reusing both form numbers and glaze names over the years.)\u003c\/p\u003e\n\u003cp\u003eMAREI's most important design work dates to the '60s and '70s and is represented by decorative, vitrified, vases, jugs, and wall tiles—many of which recall the products of Keto, Ruscha, and Roth. Their most iconic designs include the Penguin Vase—so called because of its silhouette's resemblance to the bird—and the Chimney Vase series (the \"chimney\" in question is a prop used in firing to create a lateral hole, or holes, in a vase).\u003c\/p\u003e\n\u003cp\u003eNOTED DÉCORS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eBrügge\u003c\/i\u003e, comprised of raised arabesques made with glaze strings, perhaps inspired by the lace industry of Bruges, capital of West Flanders in Belgium.\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eCapri\u003c\/i\u003e, named for the small island off the west coat of Italy near Naples, its blues likley reflect the Mediterranean waters.\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eKolibri\u003c\/i\u003e, German for hummingbird, evocative of the bird's iridescent colors and specialized feathers. (Tagged \"snakeskin\" by collectors.)\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eKuba\u003c\/i\u003e, colorful patchwork including a preponderance of matt terra-cotta panels, designed by Bodo Mans in 1958.\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eNarvik Lilac\u003c\/i\u003e, named for a Norwegian town within the Arctic Circle; smooth matt lilac underglaze topped with a foaming, white and yellow diffusion.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe MAREI brand would survive until 2016 when the firm closed its doors.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eMAREI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition; no damage. May show some signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ¾\" W × 2 ½\" D × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13913797132330,"sku":"MAREI Nr. 2004 (1970s)","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230818_120721-01.jpg?v=1692380110"},{"product_id":"391915347097-large-vintage-60s-carstens-atelier-gerda-heuckeroth-red-vase-german-fat-lava-e","title":"CARSTENS RED ATELIER SERIES JUG VASE Nr. 201","description":"\u003cp\u003eA tall (27 cm), deep red jug vase from CARSTEN's \u003ci\u003eAtelier\u003c\/i\u003e series of the early to mid-1960s. The form is classic Heinz Siery with a fiery fat-lava glaze designed by Gerda Heuckeroth.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGERDA HEUCKEROTH (1917–1993)\u003c\/b\u003e began her career with an apprenticeship under renowned ceramist Siegfried Möller and studies at the School of Applied Arts in Bremen.  She showed her first pieces at the Grassi Museum in Leipzig in 1939.  Less than two years later she was appointed the artistic director at Carstens-Uffrect KG in Neuhaldensleben and soon took over the management of the group's Hubbe branch. (The Carstens-Uffrecht factory would be nationalized by the DDR with the division of Germany and operate as VEB Haldensleben up until reunification.)  During WWII Heuckeroth set up a workshop in her home in a suburban district of Hamburg.  Following the war, she worked for various firms, among them Grünstadt, Villeroy \u0026amp; Boch, and the Koninkliijk Plateelbakkerij Zuid Holland in Gouda, as a designer of both forms and décors.  Heuckeroth became the artistic director of Ruscha Keramik in 1959 when Hanns Welling left the company. She succeeded him again in 1962 as the senior designer for Ceramano.  In 1964 she moved to Carstens-Tonnieshof as head of its \u003ci\u003eAtelier\u003c\/i\u003e department, where she produced a great number of outstanding designs. Along with much of her early work, these have become highly sought-after by a new generation of collectors. Eventually retiring from the industry, Heuckeroth returned to freelancing out of her Hamburg studio. Her work has received numerous awards and prizes over the years at national and international exhibitions.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHEINZ SIERY (1927–1993)\u003c\/b\u003e was a true luminary in the world of ceramics in the 1950s and '60s. His form designs had a significant impact on the product styles of makers Fohr, Scheurich, Carstens, and Ruscha, among others. Siery often employed \"the golden ratio\" (or an approximation) while designing, lending harmonious proportion to his work. This can be clearly seen in his most iconic vase, no. 271\/22 for Scheurich. Presented in 1959, it was extremely popular and was still being manufactured in the 1970s. Siery also developed and introduced new methods of industrial organization.\u003c\/p\u003e\n\u003cp\u003eIn 1969 Siery and wife Ingrid Siery-Illgner established a jointly operated studio, \u003ci\u003eAtelier Syré\u003c\/i\u003e, near the historic town of Euskirchen in North Rhine-Westphalia out of which they both freelanced. (Ingrid had also designed decorative objects for Carstens, and overseen the design department at the Wächtersbach earthenware factory.) In addition to commissioned work, the couple produced creations of their own—notably elegant, figural sculptures made of bronze, whose simple, classical forms and sleek lines evoke the work of Henry Moore and Joannis Avramidis. Atelier Syré houses a sculpture park home to more than 300 of these works.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e was founded in 1946 by Ernst Carstens and his son Christian. The family (which included Christian's namesake uncle, sometimes mistakenly listed as a Tönnieshof cofounder) had a generations-long history of manufacturing porcelain and other ceramics throughout Germany. However, all of its businesses had collapsed by the end of WWII. Most of the factories that had survived were expropriated by the GDR—having wound up on the communist side of the line when the country was divided following the war. Father and son built the new Tönnieshof factory on a farm of that name in the town of Fredelsloh—just across the West German border in Lower Saxony. Very little is recorded about its earliest production, which began in 1947 and consisted mainly of tableware. The first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director for CARSTENS-TÖNNIESHOF until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eEarly modern CARSTENS-TÖNNIESHOF products had simple forms and were decorated in discrete colors. More advanced décors, with organic patterns and sometimes gold elements, were developed by Trude Carstens in the mid-'50s. Good examples of this type are \u003ci\u003eUtrecht\u003c\/i\u003e and \u003ci\u003eGraz\u003c\/i\u003e. Forms with molded geometric patterns would soon be introduced, the \u003ci\u003eCarmen\u003c\/i\u003e relief series from 1958 being representative.\u003c\/p\u003e\n\u003cp\u003eWhen Ernst Carstens died in 1954, leadership passed to son Christian. Under his guidance, the firm maintained its dynamic position in the vanguard of West Germany's ceramics industry. CARSTENS, which employed about 400 workers by this time, would remain successful for decades and produce an enormous variety of shapes and glazes. In step with most of the other major German ceramics companies of its day, CARSTENS' practice was to apply a variety of decoration techniques to the same basic forms. This naturally yielded extensive product ranges. In addition to its own branded pottery, CARSTENS manufactured ceramics for the Austrian firm Goldscheider.\u003c\/p\u003e\n\u003cp\u003eThe celebrated Heinz Siery began his work at CARSTENS in 1959. His designs—with their harmonious, \"golden-ratio\" proportions—were ubiquitous in the company's early '60s production, and indeed, throughout its remaining history. Of special note is the original \u003ci\u003eAtelier\u003c\/i\u003e series, developed by Siery (forms) along with Gerda Heuckeroth (décors) and released in 1962. The two are together responsible for some of CARSTENS' most coveted creations.\u003c\/p\u003e\n\u003cp\u003eHelmut Scholtis (listed as \"von Scholtis\" in much of the literature), during a stint with CARSTENS in 1963, unveiled the hugely popular \u003ci\u003eAnkara\u003c\/i\u003e décor. An outstanding example of the \"wax resist\" technique, it was applied to a broad array of forms and can be found in a variety of color and shape permutations. \u003ci\u003eAnkara\u003c\/i\u003e remained in continuous production until 1969.\u003c\/p\u003e\n\u003cp\u003eDieter Peter and Rudolph Christman came up with several advanced, eccentric forms in 1967 and paired them with sophisticated \"fat lava\" glazes for the high-end \u003ci\u003eLuxus\u003c\/i\u003e series. It was followed in 1968 by Gerda Heuckeroth's \u003ci\u003eBoutique\u003c\/i\u003e series. The two lines were produced to be sold exclusively in large department stores and comprised some of CARSTENS' most labor-intensive and costly items to produce.\u003c\/p\u003e\n\u003cp\u003eCARSTEN's production was eventually expanded to Austria and overseas to Brazil, Chile, Argentina, and Australia. It may well have topped out at close to 10,000 units daily overall. By the mid-1970s, however, the profitability of the ceramics industry was being undercut by cheap imports and lagging public interest. CARSTENS went bankrupt in 1977. It was taken over by employees for a time and operated under the name Kiel Atelier; all operations ceased in 1984.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTrude Carstens, 1946–mid '60s\u003c\/li\u003e\n\u003cli\u003eHeinz Siery, 1959–1967\u003c\/li\u003e\n\u003cli\u003eGerda Heuckeroth, 1962–1964\u003c\/li\u003e\n\u003cli\u003eDieter Peter, early '70s\u003c\/li\u003e\n\u003cli\u003eRudolph Christman, 1967–1968\u003c\/li\u003e\n\u003cli\u003eHelmut Scholtis, 1960s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHEINZ SIERY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" DIAM. × 11\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13916996534314,"sku":"CARSTENS RED ATELIER SERIES JUG VASE Nr. 201","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231016_110457-01.jpg?v=1697474307"},{"product_id":"carstens-tonnieshof-luxus-floor-vase-7951-42","title":"CARSTENS TÖNNIESHOF ‘MOONCRATER’ FLOOR VASE 7951\/42","description":"\u003cp\u003eA CARSTENS TÖNNIESHOF, \u003ci\u003eMooncrater\u003c\/i\u003e relief vase from its high-end \u003ci\u003eLuxus\u003c\/i\u003e range of ceramics, designed for the company by Dieter Peter and Rudolph Christmann in the late 1960s. The deeply cratered décor was no doubt a response to the Apollo 11 moon landing of 1969, which inspired several décors in the \u003ci\u003eLuxus\u003c\/i\u003e series. This large, double-handled floor vase is covered in a glossy, chocolatey-brown metallic glaze, topped in front with an equally glossy, bright red. A striking 16 ½\". In perfect, original condition.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e was founded in 1946 by Ernst Carstens and his son Christian. The family (which included Christian's namesake uncle, sometimes mistakenly listed as a Tönnieshof cofounder) had a generations-long history of manufacturing porcelain and other ceramics throughout Germany. However, all of its businesses had collapsed by the end of WWII. Most of the factories that had survived were expropriated by the GDR—having wound up on the communist side of the line when the country was divided following the war. Father and son built the new Tönnieshof factory on a farm of that name in the town of Fredelsloh—just across the West German border in Lower Saxony. Very little is recorded about its earliest production, which began in 1947 and consisted mainly of tableware. The first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director for CARSTENS-TÖNNIESHOF until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eEarly modern CARSTENS-TÖNNIESHOF products had simple forms and were decorated in discrete colors. More advanced décors, with organic patterns and sometimes gold elements, were developed by Trude Carstens in the mid-'50s. Good examples of this type are \u003ci\u003eUtrecht\u003c\/i\u003e and \u003ci\u003eGraz\u003c\/i\u003e. Forms with molded geometric patterns would soon be introduced, the \u003ci\u003eCarmen\u003c\/i\u003e relief series from 1958 being representative.\u003c\/p\u003e\n\u003cp\u003eWhen Ernst Carstens died in 1954, leadership passed to son Christian. Under his guidance, the firm maintained its dynamic position in the vanguard of West Germany's ceramics industry. CARSTENS, which employed about 400 workers by this time, would remain successful for decades and produce an enormous variety of shapes and glazes. In step with most of the other major German ceramics companies of its day, CARSTENS' practice was to apply a variety of decoration techniques to the same basic forms. This naturally yielded extensive product ranges. In addition to its own branded pottery, CARSTENS manufactured ceramics for the Austrian firm Goldscheider.\u003c\/p\u003e\n\u003cp\u003eThe celebrated Heinz Siery began his work at CARSTENS in 1959. His designs—with their harmonious, \"golden-ratio\" proportions—were ubiquitous in the company's early '60s production, and indeed, throughout its remaining history. Of special note is the original \u003ci\u003eAtelier\u003c\/i\u003e series, developed by Siery (forms) along with Gerda Heuckeroth (décors) and released in 1962. The two are together responsible for some of CARSTENS' most coveted creations.\u003c\/p\u003e\n\u003cp\u003eHelmut Scholtis (listed as \"von Scholtis\" in much of the literature), during a stint with CARSTENS in 1963, unveiled the hugely popular \u003ci\u003eAnkara\u003c\/i\u003e décor. An outstanding example of the \"wax resist\" technique, it was applied to a broad array of forms and can be found in a variety of color and shape permutations. \u003ci\u003eAnkara\u003c\/i\u003e remained in continuous production until 1969.\u003c\/p\u003e\n\u003cp\u003eDieter Peter and Rudolph Christman came up with several advanced, eccentric forms in 1967 and paired them with sophisticated \"fat lava\" glazes for the high-end \u003ci\u003eLuxus\u003c\/i\u003e series. It was followed in 1968 by Gerda Heuckeroth's \u003ci\u003eBoutique\u003c\/i\u003e series. The two lines were produced to be sold exclusively in large department stores and comprised some of CARSTENS' most labor-intensive and costly items to produce.\u003c\/p\u003e\n\u003cp\u003eCARSTEN's production was eventually expanded to Austria and overseas to Brazil, Chile, Argentina, and Australia. It may well have topped out at close to 10,000 units daily overall. By the mid-1970s, however, the profitability of the ceramics industry was being undercut by cheap imports and lagging public interest. CARSTENS went bankrupt in 1977. It was taken over by employees for a time and operated under the name Kiel Atelier; all operations ceased in 1984.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTrude Carstens, 1946–mid '60s\u003c\/li\u003e\n\u003cli\u003eHeinz Siery, 1959–1967\u003c\/li\u003e\n\u003cli\u003eGerda Heuckeroth, 1962–1964\u003c\/li\u003e\n\u003cli\u003eDieter Peter, early '70s\u003c\/li\u003e\n\u003cli\u003eRudolph Christman, 1967–1968\u003c\/li\u003e\n\u003cli\u003eHelmut Scholtis, 1960s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, BROWN, COPPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Virtually untouched by time! May show insignificant traces of previous ownership.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e9\" W × 8\" D × 16 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13917665525802,"sku":"CARSTENS TÖNNIESHOF 'MOONCRATER' FLOOR VASE 7951\/42","price":325.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240119_170250-01.jpg?v=1706314349"},{"product_id":"vase-extraordinary-crater-relief-pink-brown-lava-crust-carsten-germany","title":"CARSTENS TÖNNIESHOF BROWN AND PINK ‘MOONCRATER’ VASE Nr. 7952\/22","description":"\u003cp\u003eA CARSTENS TÖNNIESHOF, \u003ci\u003eMooncrater\u003c\/i\u003e relief vase in brown with pale, pink highlights from its high-end \u003ci\u003eLuxus\u003c\/i\u003e range of ceramics, designed by Dieter Peter and Rudolph Christmann for the company in the late 1960s. The deeply cratered décor was no doubt a response to the Apollo 11 moon landing of 1969, which inspired several décors in the \u003ci\u003eLuxus\u003c\/i\u003e series. In perfect, original condition!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e was founded in 1946 by Ernst Carstens and his son Christian. The family (which included Christian's namesake uncle, sometimes mistakenly listed as a Tönnieshof cofounder) had a generations-long history of manufacturing porcelain and other ceramics throughout Germany. However, all of its businesses had collapsed by the end of WWII. Most of the factories that had survived were expropriated by the GDR—having wound up on the communist side of the line when the country was divided following the war. Father and son built the new Tönnieshof factory on a farm of that name in the town of Fredelsloh—just across the West German border in Lower Saxony. Very little is recorded about its earliest production, which began in 1947 and consisted mainly of tableware. The first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director for CARSTENS-TÖNNIESHOF until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eEarly modern CARSTENS-TÖNNIESHOF products had simple forms and were decorated in discrete colors. More advanced décors, with organic patterns and sometimes gold elements, were developed by Trude Carstens in the mid-'50s. Good examples of this type are \u003ci\u003eUtrecht\u003c\/i\u003e and \u003ci\u003eGraz\u003c\/i\u003e. Forms with molded geometric patterns would soon be introduced, the \u003ci\u003eCarmen\u003c\/i\u003e relief series from 1958 being representative.\u003c\/p\u003e\n\u003cp\u003eWhen Ernst Carstens died in 1954, leadership passed to son Christian. Under his guidance, the firm maintained its dynamic position in the vanguard of West Germany's ceramics industry. CARSTENS, which employed about 400 workers by this time, would remain successful for decades and produce an enormous variety of shapes and glazes. In step with most of the other major German ceramics companies of its day, CARSTENS' practice was to apply a variety of decoration techniques to the same basic forms. This naturally yielded extensive product ranges. In addition to its own branded pottery, CARSTENS manufactured ceramics for the Austrian firm Goldscheider.\u003c\/p\u003e\n\u003cp\u003eThe celebrated Heinz Siery began his work at CARSTENS in 1959. His designs—with their harmonious, \"golden-ratio\" proportions—were ubiquitous in the company's early '60s production, and indeed, throughout its remaining history. Of special note is the original \u003ci\u003eAtelier\u003c\/i\u003e series, developed by Siery (forms) along with Gerda Heuckeroth (décors) and released in 1962. The two are together responsible for some of CARSTENS' most coveted creations.\u003c\/p\u003e\n\u003cp\u003eHelmut Scholtis (listed as \"von Scholtis\" in much of the literature), during a stint with CARSTENS in 1963, unveiled the hugely popular \u003ci\u003eAnkara\u003c\/i\u003e décor. An outstanding example of the \"wax resist\" technique, it was applied to a broad array of forms and can be found in a variety of color and shape permutations. \u003ci\u003eAnkara\u003c\/i\u003e remained in continuous production until 1969.\u003c\/p\u003e\n\u003cp\u003eDieter Peter and Rudolph Christman came up with several advanced, eccentric forms in 1967 and paired them with sophisticated \"fat lava\" glazes for the high-end \u003ci\u003eLuxus\u003c\/i\u003e series. It was followed in 1968 by Gerda Heuckeroth's \u003ci\u003eBoutique\u003c\/i\u003e series. The two lines were produced to be sold exclusively in large department stores and comprised some of CARSTENS' most labor-intensive and costly items to produce.\u003c\/p\u003e\n\u003cp\u003eCARSTEN's production was eventually expanded to Austria and overseas to Brazil, Chile, Argentina, and Australia. It may well have topped out at close to 10,000 units daily overall. By the mid-1970s, however, the profitability of the ceramics industry was being undercut by cheap imports and lagging public interest. CARSTENS went bankrupt in 1977. It was taken over by employees for a time and operated under the name Kiel Atelier; all operations ceased in 1984.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTrude Carstens, 1946–mid '60s\u003c\/li\u003e\n\u003cli\u003eHeinz Siery, 1959–1967\u003c\/li\u003e\n\u003cli\u003eGerda Heuckeroth, 1962–1964\u003c\/li\u003e\n\u003cli\u003eDieter Peter, early '70s\u003c\/li\u003e\n\u003cli\u003eRudolph Christman, 1967–1968\u003c\/li\u003e\n\u003cli\u003eHelmut Scholtis, 1960s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCARSTENS-TÖNNIESHOF\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN, LIGHT PINK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Virtually untouched by time! May show insignificant traces of previous ownership.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8 ½\" W × 7\" D × 8 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13944448942122,"sku":"CARSTENS TÖNNIESHOF BROWN AND PINK 'MOONCRATER' VASE Nr. 7952\/22","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240119_165949-01.jpg?v=1706315662"},{"product_id":"studio-pottery-vase-colourful-lava-style-germany","title":"RED AND GREEN Ü-KERAMIK ‘STUDIO LINE’ VASE","description":"\u003cp\u003eA rather vigorous chamotte posy vase from Ü-KERAMIK's \u003ci\u003eStudio Line\u003c\/i\u003e. A shiny scarlet belly-band with an olive green meander sits atop a pigeon gray underglaze. The form details evoke wood-turning.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eÜ-KERAMIK (aka ÜBELACKER)\u003c\/b\u003e began as a tin foundry in 1909 in the small town of Ransbach-Baumbach in the southwest German state of Rhineland-Palatinate. Master tinsmith Johann Übelacker initially produced simple pewterware, but he was soon experimenting with pieces that incorporated stoneware elements—in the manner of the common beer stein. The popularity of these led to Ü-KERAMIK's expansion into, first, the manufacture of terracotta and fine earthenware goods and, in the 1930s, the production of glazed ceramics.\u003c\/p\u003e\n\u003cp\u003eAt some point following WWII, Ü-KERAMIK began collaborating with Siershahner Feinsteinzeugfabrik, a maker of \"klinker\" pottery in nearby Siershahn, and by 1949 it had taken over that company's operations. Combined the two factories employed more than 550 people. They were well positioned to help supply war-weary Europe with the domestic trappings of a brighter, more prosperous future.\u003c\/p\u003e\n\u003cp\u003eÜbelacker was an early adopter of his industry's technical innovations. To cite one late example, working with Ü-KERAMIK's resident chemist and artistic director Heinz Hommerich in 1954, he pioneered the mass-scale production of objects glazed in selenium red. The newly-formulated fiery finish gave Ü-KERAMIK an enormous upper-hand in the marketplace. Sadly it would be the last advance Übelacker would introduce personally as he died the next year in 1955.\u003c\/p\u003e\n\u003cp\u003eThe business was left in the hands of his three sons, who had learned the trade from childhood. By then Ü-KERAMIK was one of the largest producers in the region. Its impressive range of products included all kinds of ceramic forms, both utilitarian and ornamental. The 1958 catalogue featured 25 different models of vases (not counting wall vases and pitchers) available in 66 sizes and 15 designs. A relatively large portion of Ü-KERAMIK's output was exported to Austria and Scandinavia.\u003c\/p\u003e\n\u003cp\u003eIn 1960 Johann's sons were enticed by government incentives to co-establish Kilrush, a ceramics factory on Ireland's west coast. Unfortunately, the concern failed after only two years. (It was eventually acquired by Rosenthal in 1973.) A second Irish factory was built in the 1980s to better service Scandinavian markets—where Ü-KERAMIK products remained extremely popular, even as German interest in decorative ceramics waned. However this second time proved no charm. The venture was a financial debacle and left the three brothers struggling with debt; the factory in Siershahn had to shutter as a result. Finally the main plant in Ransbach filed for bankruptcy in 1990.\u003c\/p\u003e\n\u003cp\u003eA note on identification: Ü-KERAMIK pieces were generally made of white or off-white clay and were usually marked on the bottom with only a form number and height. Foil stickers with the company logo were frequently used; occasionally the logo can be found impressed on the base. Consisting of a circled u-umlaut (ü), the logo bears a striking resemblance to a smiley face!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eÜ-KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSCARLET, OLIVE, DOVE GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show some signs of age and previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e0\" DIAM. × 0\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13954735079466,"sku":"Ü-KERAMIK 'STUDIO SERIES' VASE","price":78.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231007_144734-01.jpg?v=1696710538"},{"product_id":"vase-ceramano-219-incrusta-petrol-auf-rot-brauner-korniger-glas-hanns-wellig","title":"HANNS WELLING ‘INCRUSTA’ JUG VASE Nr.219 FOR CERAMANO","description":"\u003cp\u003eA beautiful \u003ci\u003eIncrusta\u003c\/i\u003e décor jug vase designed by Hanns Welling for Ceramano in 1968. The décor consists of a sandy brown underglaze, with specks of glossy red, topped with a glossy flowing fat-lava over glaze in fantastic shades of dark and petrol blue.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCERAMANO\u003c\/b\u003e was the brainchild of Jakob Schwaderlapp, the founder of Jasba Keramik. He set up the sister company in 1959 to produce high-end ceramics that would complement Jasba's mass-produced lines and respond to the growing demand for innovation in the decortive arts. The manufacture of more artistic and experimental items had heretofore been the province of small workshops; Schwaderlapp had the idea to replicate the look and feel \u003ci\u003eand the creativity\u003c\/i\u003e of artisanal work using modern factory methods. CERAMANO went public with the debut of an extensive product range at the Frankfurt Trade Fair. The celebrated Hanns Welling was introduced as the man in charge—responsible for the company's marketing as well as for all of its shapes and décors (glaze and pattern combinations). Welling remained at the helm until 1962 when the position of head designer was handed off to Gerda Heuckeroth, later known for her amazing body of work at Carstens.\u003c\/p\u003e\n\u003cp\u003eTo achieve its goals, CERAMANO employed many of the top ceramic artists of the day, notably (in addition to Welling and Heuckeroth) the Hungarian designer Dudas Laszlo. Unsurprisingly, the items it produced were generally of high quality and varied nature. Many of the more expensive pieces were completely handmade on a wheel; most vases were built using the company's signature reddish-brown clay. Compared with other German ceramics firms, an unusual amount is known about the décors of CERAMANO owing to its practice of listing their names on vessel bottoms. Top décors include \u003ci\u003eRubin\u003c\/i\u003e, \u003ci\u003eToscana\u003c\/i\u003e, \u003ci\u003eStromboli\u003c\/i\u003e, and \u003ci\u003ePergamon\u003c\/i\u003e, plus rarities like \u003ci\u003eSaturn\u003c\/i\u003e, \u003ci\u003eAchat\u003c\/i\u003e, and \u003ci\u003eIncrusta\u003c\/i\u003e. Along with the décor name, bases were generally engraved (by the décor artist) with the model number and the artist's initials. This practice enhanced the \"studio\" semblance of CERAMANO's pieces. Willi Schwaderlapp, Jakob's son and partner, took over the company in 1964, after which it was split off from Jasba entirely.\u003c\/p\u003e\n\u003cp\u003e[Note: shape numbers usually have three digits. They are sometimes followed by a slash (virgule) and a second number, ranging from one to six, that denotes the piece's relative size. Whether or not and how much text is included on the base seems to depend on the size of the vessel in most cases. \"Handarbeit\" (handmade) is also a common marking. Vases from later periods were provided with paper labels.]\u003c\/p\u003e\n\u003cp\u003eCERAMANO continued to develop economically with the takeovers of Waku Feuerfest and Steinzeug und Mosaikplattenfabrik in the 1970s, which allowed for expansion into the production of, respectively, tableware and architectural tiles. The company's export share slowly increased for a time, but CERAMANO's gambit ultimately proved unsuccessful. As the 1980s progressed, interest in art pottery waned sharply. CERAMANO finally closed its doors in 1989. (Jasba is still in operation, producing industrial tiles exclusively).\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHanns Welling, 1959–1961\u003c\/li\u003e\n\u003cli\u003eGerda Heuckeroth, 1962–1964\u003c\/li\u003e\n\u003cli\u003eDudas Laszlo, 1960s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCERAMANO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHANNS WELLING\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BOHO CHIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER; NAVY BLUE; SAND\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition; no damage. May show some signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ¾\" W × 9\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13960355119146,"sku":"WELLING 'INCRUSTA' VASE Nr 219 FOR CERAMANO","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220816_125709_1-01.jpg?v=1660673062"},{"product_id":"mcm-italian-2-horses-man-circus-faces-blue-modernist-orig-oil-painting-signed","title":"EQUESTRIAN ABSTRACT BY UNKNOWN GERMAN ARTIST (1960s)","description":"\u003cp\u003eA dense and funky mid-century abstract, dynamically sculptural in its execution, portraying a mythic horse and rider—or perhaps the fabled Juggernaut! This intricate oil-on-canvas is predominantly colored in royal shades of blue, with details in orange, green, yellow, and black. Signed both front and back in what may be non-Roman script, the name of the West German artist is illegible. (A title appears to once have been written en verso and then subsequently obscured.) While the artwork is in good condition, there is significant crazing throughout—albeit no paint loss. Currently unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ABSTRACT EXPRESSIONISM; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eROYAL, NAVY, APRICOT, MUSTARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition. Significant crazing throughout—albeit no loss of paint.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24\" H × 36\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13962125967402,"sku":"ART031","price":610.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231014_123718-01-01-01.jpg?v=1697306814"},{"product_id":"08-27-vintage-marzi-remi-pottery-2x-handled-vases-germany-2005-21","title":"’50s MARZI \u0026 REMI HANDLE VASE Nr. 2005\/21 (A)","description":"\u003cp\u003eA compact pitcher vase with a classically inspired profile (model Nr. 2205\/21). Glossy stripes of glaze in alternating white and pastel shades, with oxblood striations, are applied onto panels scored into a matte, ebony ground. Two available. Priced individually.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e was founded in 1879 by brothers-in-law Anton Marzi (d. 1924) and Simon Peter Remy (1835-1919) in the town of Höhr (today Höhr-Grenzhausen). Known as the potters’ city, Höhr is located in what is now central Germany—in the historic Kannenbäckerland, the “jug bakers’ land,” a centuries-old home to ceramics manufacture and the site of Europe’s largest clay deposit.\u003c\/p\u003e\n\u003cp\u003eEstablished to manufacture decorative stoneware, MARZI \u0026amp; REMY at first produced only the blue-gray salt-glazed stoneware characteristic of the Westerwald, the mountainous region where the factory was situated. Designer Gustav Thinwiebel (1853-1933) was employed from the start and was responsible for modeling a great number of beer steins in the “altdeutschen” style for the company. A pewter foundry was added in 1881 to make hinged tin lids for the steins. (MARZI \u0026amp; REMY remains rather better known among collectors today for their beer stein catalog than for their art pottery.)\u003c\/p\u003e\n\u003cp\u003eThe 1883 perfection of the technique for making cream-colored earthenware, \u003ci\u003eElfenbeinsteinzeug\u003c\/i\u003e (\u003ci\u003eElfenbein\u003c\/i\u003e is German for ivory), led to an expansion of MARZI \u0026amp; REMY’s product range. Bowl sets and various gift items were added to the program. The company maintained strict quality standards, and only products of the best quality were sent to market. The firm quickly became one of Germany’s leading stoneware producers—with the necessary reputation to attract such famous architect\/industrial designers as Henry van de Velde (1865-1957), Albin Müller (1871-1947), and Peter Behrens (1868-1940). At the turn of the century, it employed about 100 workers.\u003c\/p\u003e\n\u003cp\u003eUpon Marzi’s death in 1924, his son-in-law Johann Otto Bühler took over the management of the company. He assumed full ownership in 1931 when Remy’s son, Werner, departed the firm. MARZI \u0026amp; REMY suffered greatly from the recession of the 1930s on his watch. Bühler’s son Otto took the reins from his father in 1941, surrendering them in turn to Bühler’s grandson, Otto George (O.G.) Bühler, who had been locally educated as a ceramics engineer, in 1953.\u003c\/p\u003e\n\u003cp\u003eFor the duration of WWII, production was scaled back to simple crockery. Following the defeat of the Axis powers, all facilities were thoroughly modernized. MARZI \u0026amp; REMY initially stuck to manufacturing gift items in the post-war period—in a traditional, old German style, with a very large export share—but modern design tendencies were adopted relatively early. After his 1953 promotion to head the firm, O.G. updated the product line to meet more contemporary tastes. He also replaced the old, round ovens with tunnel ones, and continuous production supplanted batch firings. That same year, O.G. married one of the firm’s young designers; soon, Erika Bühler would present a popular collection of pieces that featured asymmetry, a quality hitherto seen only in Chinese pottery. O.G. himself worked as both a ceramist and a prolific designer of glazes.\u003c\/p\u003e\n\u003cp\u003eDespite these positive developments, MARZI \u0026amp; REMY finally found itself unable to cope with the rapid changes of the late 20\u003csup\u003eth\u003c\/sup\u003e century, and it ran into economic difficulties in the early 1980s. These resulted in bankruptcy proceedings in 1984\/85 and again in 1990. It permanently closed its doors in 1994.\u003c\/p\u003e\n\u003cp\u003eEarly MARZI \u0026amp; REMY items are seldom marked. They are identified mostly based on old factory catalogs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker - \u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period - \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin - \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements - \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials - \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors - \u003cb\u003eBLACK, PASTELS, GOLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition - \u003cb\u003eVery good vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions - \u003cb\u003e5 ½\" W × 3 ½\" D × 8\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14209969487914,"sku":"50s MARZI \u0026 REMI HANDLE VASES Nr. 2005\/21 (A)","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210904_114034-01_0fb685ba-97dd-428d-a4ee-8e3854cde51c.jpg?v=1630776614"},{"product_id":"09-17-aldo-tura-milano-aschenbecher-bezogen-mit-lackiertem-ziegenleder-goatskin","title":"ALDO TURA LACQUERED GOATSKIN VIDE POCHE WITH METAL INSERT","description":"\u003cp\u003eFrom the Lombard workshop of Aldo Tura, a handmade vide poche of solid maple, covered in a greenish-gray, lacquered goatskin veneer, with an insert of chrome-plated brass. The beautifully crafted vessel itself is in excellent vintage condition—the chrome in the interior center of the insert has been worn away, revealing the brass underneath. There is no flaking. The luxe materials and emphatic spirit of glamorous hospitality are both typical of Tura's work. For the collector. . . .\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO TURA (1909–1963)\u003c\/b\u003e was born in 1909 and began making experimental furniture by hand in the 1930s. He established a factory in 1939 outside of Milan, in the town of Lazatte. Working between the idioms of Art Deco and modernism, Tura created singular, high-end pieces, characterized by rich materials and artisanal production techniques. He was a unique design talent of the Italian mid-century; apart from his work, little is known about his life.\u003c\/p\u003e\n\u003cp\u003eTura employed a wide range of unusual materials, including eggshells, parchment, and goatskin in his designs. Bar cabinets in various sizes and with different functionality—from delicate trolleys to large, tiered, case goods—represented an important focus of his workshop, complemented by accessories such as ice buckets, carafes, ashtrays, and cocktail shakers, frequently covered with lacquered goatskin.\u003c\/p\u003e\n\u003cp\u003eIn the postwar years, as many designers were adjusting their methods to facilitate mass production, Tura remained committed to slow, traditional hand-craftsmanship. The complex forms and labor-intensive processes that he favored could never be adapted to large-scale factory systems. As a result, the number of works by Tura available on today's vintage market is limited, and his output, in turn, has become highly collectible, especially examples with exotic finishes in intense palettes of red, yellow, and emerald green.\u003c\/p\u003e\n\u003cp\u003eThere is some difficulty positioning Tura in the context of modernism. His work is simply too luxe and decorative and too labor-intensive. The Brooklyn Museum in New York City has shown some of his works. He died in 1963. The Tura company in Lazzate, which continued to produce furniture based on his style, ceased operations in 2014.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO TURA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eALDO TURA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eART DECO; HOLLYWOOD REGENCY; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, CHROME, GOATSKIN, MAPLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGRAY, GOLDENROD, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition with some wear to chrome as may be expected from age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" DIAM. × 3 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14210384429098,"sku":"ALDO TURA LACQUERED GOATSKIN VIDE POCHE WITH METAL INSERT - ITALY","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240127_105245-01.jpg?v=1706383733"},{"product_id":"08-26-2-fratelli-fanciullacci-vases-italian-bitossi-style-60s-70s-original-labels","title":"FRATELLI FANCIULLACCI ‘VINE \u0026 LEAF’ RELIEF DÉCOR VASE","description":"\u003cp\u003eAn outstanding, hand-turned and -decorated, chamotte pottery vase with a colorful \u003ci\u003eVine and Leaf\u003c\/i\u003e relief décor from the studios of FRATELLI FANCIULLACCI of Florence, Italy. Only one of an original matched pair remains available. In excellent condition with the original paper label still affixed to the base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFRATELLI FANCIULLACCI\u003c\/b\u003e was born of a family whose roots in Italian ceramics date to the 1700s. The Fanciullaccis had collaborated with the Richard-Ginori porcelain company in Sesto Fiorentino (a municipality of Florence) since its 1737 founding. They were so invested in the concern that when its founder, Carlo Ginori, died in 1757, they attempted to wrest control from his son Lorenzo. Carlo’s widow, Mariana Garzoni Venturi, thwarted the “coup” and acted as interim manager until the minor Lorenzo came of age.\u003c\/p\u003e\n\u003cp\u003eThe most artistically important Fanciullacci at Ginori during the 18\u003csup\u003eth\u003c\/sup\u003e and early 19\u003csup\u003eth\u003c\/sup\u003e centuries was arguably Giovanni Battista Fanciullacci. He joined the company as a miniaturist and porcelain painter in 1759 and rose to head the painting department in 1772. He was named factory director in 1806 and retired two decades later. His rare works are highly coveted by collectors today.\u003c\/p\u003e\n\u003cp\u003eIn 1862 (sometimes 1858 is cited), Raffaello Fanciullacci (1803-1881), another former Ginori factory director, established his own pottery in nearby Capraia Fiorentino: Ceramiche Capraia. The new company initially produced simple, utilitarian wares. Raffaello was joined by his son Demetrio in the late 1870s, and subsequently by his four sons, Ilario, Giovanni, Amedeo, and Alfredo. By 1880, the pottery officially became FRATELLI FANCIULLACCI, i.e., the Bros. Fanciullacci.\u003c\/p\u003e\n\u003cp\u003eIn 1911, with the arrival of the Florence-Pisa railroad, operations moved from Capraia to nearby Montelupo. The new line provided easy and inexpensive transport to vital Italian cities, and the relocation was such a boon that, by 1914, the company had over 1,000 different molds. FANCIULLACCI’s offerings were among Italy’s most appealing, and the pottery became the area’s largest employer.\u003c\/p\u003e\n\u003cp\u003eFrom the 1920s through the 1940s, the firm slowly branched into a rich repertoire of artistic products as the golden age of FRATELLI FANCIULLACCI blossomed. The company famously stayed in sync with the pulse of consumers in both Italy and America (its main export destination). Work was produced almost immediately in the latest styles: Raffaellesco, Istoriati, Art Deco, Art Nouveau, Futurism, Cubism, Modernism, and Avant-Garde.\u003c\/p\u003e\n\u003cp\u003eMany of the elements that would eventually define the unique characteristics of FANCIULLACCI’s mid-century ceramics began to emerge at this time—the innovative fusion of heavily textured finishes, the application of traditional sgraffito techniques to produce both abstract and figurative designs, and the juxtaposition of bold, glossy glazes with matte backgrounds. Some designs featured raw, pumice-like or chamotte textures, in sharp contrast with the smooth, high-gloss finishes typical of contemporary Italian ceramics. Colorful majolica might be applied to specific areas, such as in a geometric shape or an animal motif. The result was a collection of highly graphic and sculptural pieces that were both modern and deeply rooted in traditional craftsmanship.\u003c\/p\u003e\n\u003cp\u003eFRATELLI FANCIULLACCI was one of the few ceramics factories able to operate throughout WWII. At war’s end, Colorificio, parent company of Bitossi Ceramiche, assumed control, though the family ran the business with little oversight. By the late ’50s, production was back up to speed, and new international markets soon accounted for 90 percent of output.\u003c\/p\u003e\n\u003cp\u003eDisaster struck on November 4, 1966, with a major flood of the Arno—the worst in over 400 years. It resulted in many deaths and the loss of countless art treasures and manuscripts. FRATELLI FANCIULLACCI was hard hit: priceless molds (some dating to its founding), all kilns, raw clay, and finished export stockpiles were destroyed. The company shut down for over a year, and many talented artists and craftsmen left for other work.\u003c\/p\u003e\n\u003cp\u003eProduction shifted to a temporary Florence plant while the Montelupo site was renovated. However, both output and quality suffered dramatically. FRATELLI FANCIULLACCI attempted to reestablish itself but never regained its former success. The company ceased all operations in 1988.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFRATELLI FANCIULLACCI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBOHO CHIC, ITALIAN, MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN, RED, SKY BLUE, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14210627993642,"sku":"FRATELLI FANCIULLACCI 'VINE \u0026 LEAF' RELIEF DECOR VASE","price":395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210205_171304-01.jpg?v=1612569235"},{"product_id":"07-27-60er-designklassiker-vase-203-26-ritzzeichnung-engobe-scheurich-kg-kleinheubach","title":"SCHEURICH ABSTRACT FRUIT MOTIF VASE Nr. 203\/26","description":"\u003cp\u003eA large, '50s-era, ovoid vase from SCHEURICH KERAMIK. The hand-painted décor recalls an abstract still life of fruit in yellow, red, and teal on a bubbly, gray background. Model Nr. 203\/26.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e had its origins in a joint venture launched in 1928 by Alois Scheurich (d. 1968) and his cousin Fridolin Greulich in the small town of Schneeberg near the Czech border in Saxony—wholesaling glass, porcelain, and ceramics. The business was moved to the market community of Kleinheubach in the northeast corner of Bavaria in 1938, and ten years later the partners began to produce household ceramics of their own, selling them under the name Scheurich \u0026amp; Greulich. The partnership was dissolved in 1954, and Alois founded Scheurich GmbH \u0026amp; Co. KG to continue production on his own. The new company employed Germany's first electrical tunnel kiln.\u003c\/p\u003e\n\u003cp\u003eThe celebrated designer Heinz Siery was recruited as SCHEURICH’s lead modeler the following year in 1955. In addition to creating his own extensive range of shapes, Siery helped the firm develop its overarching product strategy. SCHEURICH would manufacture an assortment of simple forms that could be made cheaply and then decorated in a great variety of glazes. The natural result was an enormous range of merchandise that was both diverse and easily adaptable. The approach proved altogether successful.\u003c\/p\u003e\n\u003cp\u003eLow prices combined with a dizzying array of attractive designs translated into millions in sales for SCHEURICH, and the company remained one of the largest manufacturers of ceramics in Germany through the 1980s. To keep pace with the public's ever-changing tastes, décors were adapted twice a year. Some of the better-known décors include the hand-painted \u003ci\u003eMontignac\u003c\/i\u003e (1972–1973); \u003ci\u003eAmsterdam\u003c\/i\u003e (1974–1975), with its onion motif (\u003ci\u003eZwiebeldekor\u003c\/i\u003e); \u003ci\u003eFabiola\u003c\/i\u003e, with its flowing, brown-red top glaze; and \u003ci\u003eJura\u003c\/i\u003e, with its fossil, or snail, motif.\u003c\/p\u003e\n\u003cp\u003eAmong the more famous components of the décors used to finish mid-century ceramics are the unusually thick, often flowing glazes nicknamed \"fat lava.\" (Strictly speaking, \"fat\" is something of a misnomer, generally thought to be a careless translation of the German word \u003ci\u003egroß\u003c\/i\u003e—meaning \"large,\" or \"thick\"—referring here to the depth of the glaze, how much it rises above the surface of the clay, not its viscosity.) The term has proven slippery. Some conflate it with volcanic glazing generally, where the use of certain ingredients cause controlled, gaseous explosions, producing holes in the glazes that are visually suggestive of lava (or the surface of the moon); some apply it wholesale to all German pottery from the mid century! Regardless, fat lava glazes were very popular in the '60s and '70s, and SCHEURICH produced many stunning examples.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK used white clay exclusively. Objects were always formed by mold and were fired at 1000 degrees Celsius. A minimum of 500 pieces were made of every item that was produced. Identifying marks were embossed on the base. Model numbers are three digits long and followed by the height of the object in whole (in a few instances, half) centimeters, usually with a dash separating the two components. Most SCHEURICH items have no embossed company mark. If noted, country of origin appears as either W. GERMANY or WEST GERMANY (occasionally abbreviated to GERM). Many SCHEURICH items retain their original foil or paper labels.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK exported more ceramics than any other German company. Some lines were specifically manufactured for foreign markets. Indeed, the historical distributions of particular forms and glazes suggest that some were produced for specific countries. The bottoms of exported vases are often embossed with the word \"FOREIGN\" rather than \"WEST GERMANY.\" Not surprisingly, some vases so marked wound up on the home market.\u003c\/p\u003e\n\u003cp\u003eIn addition to vases, SCHEURICH's mid-century output included flower pots, ashtrays, piggy banks, candle holders, beer mugs, buffet clocks, and wall plaques. By the late 1980s, the shapes and colors of its vases had become rather pedestrian; this work is not attractive to collectors. As a subsidiary of Sheurich-Group GmbH, the European market leader for indoor and outdoor planters, SCHEURICH KERAMIK is still in operation today.\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHeinz Siery, forms\u003c\/li\u003e\n\u003cli\u003eA Seidel, forms\u003c\/li\u003e\n\u003cli\u003eOswald Kleudgen, glazes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLIGHT GRAY, LIGHT YELLOW, RED, TEAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5 ¼\" DIAM. × 10 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14219901763626,"sku":"SCHEURICH KERAMIK ABSTRACT DECOR VASE Nr. 203\/26","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231005_143022-01.jpg?v=1696541327"},{"product_id":"07-02-vintage-60-70s-scheurich-keramik-fruit-vase-west-german-pottery-fat-lava","title":"TALL SCHEURICH FRUIT MOTIF PITCHER VASE Nr. 403\/35","description":"\u003cp\u003eA tall, SCHEURICH KERAMIK pitcher vase from the 1950s with an abstract fruit motif in yellow, red, turquoise, and black on a bubbly, light gray background. Retains its original \"europ linie\" foil label. Model Nr. 403\/35.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e had its origins in a joint venture launched in 1928 by Alois Scheurich (d. 1968) and his cousin Fridolin Greulich in the small town of Schneeberg near the Czech border in Saxony—wholesaling glass, porcelain, and ceramics. The business was moved to the market community of Kleinheubach in the northeast corner of Bavaria in 1938, and ten years later the partners began to produce household ceramics of their own, selling them under the name Scheurich \u0026amp; Greulich. The partnership was dissolved in 1954, and Alois founded Scheurich GmbH \u0026amp; Co. KG to continue production on his own. The new company employed Germany's first electrical tunnel kiln.\u003c\/p\u003e\n\u003cp\u003eThe celebrated designer Heinz Siery was recruited as SCHEURICH’s lead modeler the following year in 1955. In addition to creating his own extensive range of shapes, Siery helped the firm develop its overarching product strategy. SCHEURICH would manufacture an assortment of simple forms that could be made cheaply and then decorated in a great variety of glazes. The natural result was an enormous range of merchandise that was both diverse and easily adaptable. The approach proved altogether successful.\u003c\/p\u003e\n\u003cp\u003eLow prices combined with a dizzying array of attractive designs translated into millions in sales for SCHEURICH, and the company remained one of the largest manufacturers of ceramics in Germany through the 1980s. To keep pace with the public's ever-changing tastes, décors were adapted twice a year. Some of the better-known décors include the hand-painted \u003ci\u003eMontignac\u003c\/i\u003e (1972–1973); \u003ci\u003eAmsterdam\u003c\/i\u003e (1974–1975), with its onion motif (\u003ci\u003eZwiebeldekor\u003c\/i\u003e); \u003ci\u003eFabiola\u003c\/i\u003e, with its flowing, brown-red top glaze; and \u003ci\u003eJura\u003c\/i\u003e, with its fossil, or snail, motif.\u003c\/p\u003e\n\u003cp\u003eAmong the more famous components of the décors used to finish mid-century ceramics are the unusually thick, often flowing glazes nicknamed \"fat lava.\" (Strictly speaking, \"fat\" is something of a misnomer, generally thought to be a careless translation of the German word \u003ci\u003egroß\u003c\/i\u003e—meaning \"large,\" or \"thick\"—referring here to the depth of the glaze, how much it rises above the surface of the clay, not its viscosity.) The term has proven slippery. Some conflate it with volcanic glazing generally, where the use of certain ingredients cause controlled, gaseous explosions, producing holes in the glazes that are visually suggestive of lava (or the surface of the moon); some apply it wholesale to all German pottery from the mid century! Regardless, fat lava glazes were very popular in the '60s and '70s, and SCHEURICH produced many stunning examples.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK used white clay exclusively. Objects were always formed by mold and were fired at 1000 degrees Celsius. A minimum of 500 pieces were made of every item that was produced. Identifying marks were embossed on the base. Model numbers are three digits long and followed by the height of the object in whole (in a few instances, half) centimeters, usually with a dash separating the two components. Most SCHEURICH items have no embossed company mark. If noted, country of origin appears as either W. GERMANY or WEST GERMANY (occasionally abbreviated to GERM). Many SCHEURICH items retain their original foil or paper labels.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK exported more ceramics than any other German company. Some lines were specifically manufactured for foreign markets. Indeed, the historical distributions of particular forms and glazes suggest that some were produced for specific countries. The bottoms of exported vases are often embossed with the word \"FOREIGN\" rather than \"WEST GERMANY.\" Not surprisingly, some vases so marked wound up on the home market.\u003c\/p\u003e\n\u003cp\u003eIn addition to vases, SCHEURICH's mid-century output included flower pots, ashtrays, piggy banks, candle holders, beer mugs, buffet clocks, and wall plaques. By the late 1980s, the shapes and colors of its vases had become rather pedestrian; this work is not attractive to collectors. As a subsidiary of Sheurich-Group GmbH, the European market leader for indoor and outdoor planters, SCHEURICH KERAMIK is still in operation today.\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHeinz Siery, forms\u003c\/li\u003e\n\u003cli\u003eA Seidel, forms\u003c\/li\u003e\n\u003cli\u003eOswald Kleudgen, glazes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLIGHT GRAY, RED, TURQUOISE, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 13 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14219975131178,"sku":"TALL SCHEURICH KERAMIK \"FRUIT\" DECOR PITCHER VASE Nr. 403\/35","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231005_143422-01.jpg?v=1696542186"},{"product_id":"09-26-hutschenreuther-moderne-blumenvase-vase-weiss-02323-33-34-cm","title":"HUTSCHENREUTHER PORCELAIN OP ART FLOOR VASE Nr. 02323\/33","description":"\u003cp\u003eA very large, flared '70s Op-Art floor vase with a basket weave relief pattern from PORZELLANFABRIKEN LORENZ HUTSCHENREUTHER AG SELB, Germany.\u003c\/p\u003e\u003chr\u003e\n\u003cp\u003eHutschenreuther is the family name of a German father and son who established competing porcelain manufactories in north-east Bavaria in the 19th century.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eC.M. HUTSCHENREUTHER AG\u003c\/b\u003e was first organized as a porcelain decorating factory in the Bavarian town of Hohenberg an der Eger by its eponymous founder, Carl Magnus Hutschenreuther (1794–1845) in 1814. He decided to try his hand at making porcelain for himself when deposits of kaolin, the soft white clay essential in its production, were discovered locally near the River Eger. The district forester, a relative, Ernst Ludwig Reuß set aside space in Hohenberg Castle for Hutschenreuther to paint porcelain and study its manufacture. In 1816 Hutschenreuther married Reuß' daughter, Johanna Maria Barbara.\u003c\/p\u003e\n\u003cp\u003eAfter many years of petitioning the Bavarian authorities, a concession was finally granted to C.M. HUTSCHENREUTHER in 1822 to set up a kiln. By that time, a disused alum works on the site of the present-day factory had been acquired. At first, it seems that Hutschenreuther mixed the raw materials himself and similarly oversaw all of the firings so as to keep his processes secret. Only after a second kiln was constructed and additional decorators hired, did the company become successful—supplemented by the sale of white wares to free-lance painters.\u003c\/p\u003e\n\u003cp\u003eTo enhance product quality, C.M. HUTSCHENREUTHER recruited artists, craftsmen, and sculptors from all over continental Europe. Primarily focusing on quality and design, the company grew into a competitive firm that produced dinnerware services that were ideal for fine dining. After his death in 1845, Hutschenreuther's widow, along with sons Lorenz and Christian, ran the business. A large part of the factory suffered a devastating fire in 1848 but was quickly rebuilt.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePORZELLANFABRIKEN LORENZ HUTSCHENREUTHER AG SELB (aka LHS)\u003c\/b\u003e had its origins in 1857 when Lorenz Hutschenreuther (1817–1886) struck out on his own and established a competing factory in the Bavarian town of Selb. The business grew throughout the early 20th century—in large measure by buying up the assets of neighboring firms, including those of Paul Müller, Selb. It was after the acquisition of Müller's art division in 1917 that LHS began producing figurines. By 1926 its art production had won wide acclaim, and the figurines in particular were highly sought after. LHS created many of its most famous dinnerware patterns during the first half of the last century, including \u003ci\u003eRacine\u003c\/i\u003e (1900), \u003ci\u003eRichelieu\u003c\/i\u003e (1929), \u003ci\u003eBlue Onion\u003c\/i\u003e (1930), and \u003ci\u003eMaple Leaf\u003c\/i\u003e (1940).\u003c\/p\u003e\n\u003cp\u003eLHS marketed aggressively and ultimately became the more notable of the two Hutschenreuther concerns. Indeed, it was the first German firm to seriously rival the famous British porcelain brands. At no point was any partnership established between LHS and C.M. HUTSCHENREUTHER; the two companies would remain fully independent and in open competition for over a century.\u003c\/p\u003e\n\u003cp\u003eBy the end of WWII, both businesses had suffered losses, particularly C.M. HUTSCHENREUTHER. Many of its plants had been situated in territory that came under the control of Soviet satellites, and they were duly expropriated, as were a few mines belonging to LHS. Both companies were also faced with severe war-related restrictions. However, by the early 1950s recovery was well underway. The art pottery department at LHS played a significant role during the decade. Shape and décor designers of the time produced many of the company's most notable creations. The artists Hans Achtziger, Hildegard Gruinseiser, Christian Modrack, and Rudolf Lunghard deserve special mention. Much of the work was free-form.\u003c\/p\u003e\n\u003cp\u003eIn 1969, the assets of C.M. HUTSCHENREUHTER were purchased by LHS and the two companies at last became one. The newly united company continued to produce fine bone china and porcelain figurines. In 1972 the company merged with Kahla AG, and in 2000 it became part of the Rosenthal division of the Waterford Wedgwood Group. Rosenthal continues to use the Hutschenreuther’s trademark \"lion insignia.\" (As of 2009, Rosenthal is an independent division of the Italian firm Sambonet Paderno.)\u003c\/p\u003e\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eHUTSCHENREUTHER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\/YEAR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; MINIMALIST; OP ART\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePORCELAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 13 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14223510274090,"sku":"LARGE HUTSCHENREUTHER PORCELAIN OP ART FLOOR VASE Nr. 02323\/33","price":315.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211028_155907-01.jpg?v=1635455489"},{"product_id":"07-27-unikat-studiokeramik-60-70er-lava-krugvase-roth-otto-jopeko-keramik","title":"MAREI KERAMIK BLACK ON RED VOLCANIC BOTTLE VASE Nr. 4107","description":"\u003cp\u003eA bright glossy red bottle vase covered in a crusty black volcanic glaze from Marei Keramik.\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eMAREI KERAMIK\u003c\/strong\u003e was founded in 1948 by Jean Fuss and his son in the town of Rheinbach near Bonn in the German state of North Rhine-Westphalia when Fuss and then partner Josef Emons dissolved their terracotta business. (Emons established ES Keramik with his sons in the same year.) Fuss \u0026amp; Emons had been formed in 1921 when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik. Its output consisted of flower pots, ornamental ceramics, and eventually drainage pipes. With the start of WWII, production came to a near standstill—with the exception of the inserts for so-called \"Hindenburg lichter,\" an important source of wartime emergency lighting. The full program was resumed as conditions normalized after the war, but the two men chose to go in different directions. MAREI is a syllabic abbreviation of the first part of the company's legal name, MAjolikafabrik RhEInbach Jean Fuss \u0026amp; Sohn. Fuss's son tragically died in an accident in 1951.\u003c\/p\u003e\n\u003cp\u003eThe focus of MAREI's initial production program was flower pots and vases with simple surface designs. However in 1957, daughter Hildegard Fuss and her husband Wolfgang Bruchhausen joined the family business—the latter would soon assume management of the company. Soon thereafter they engaged the well-known designer Bodo Mans enrich the MAREI product line. When Mans left a year later he was succeeded for a short time by Walter Weiland. Weiland in turn moved on to Fohr Keramik where he rose to head of design.\u003c\/p\u003e\n\u003cp\u003eIt was once generally thought that MAREI had been a fairly small company and that their output peaked in the 1950s. However research has shown that it was something of a manufacturing powerhouse and that some of its best work was produced in later decades. Catalog discoveries have credited to MAREI many pieces previously attributed to Roth Keramik. (The work of historians has been confounded by MAREI's practice of reusing both form numbers and glaze names over the years.)\u003c\/p\u003e\n\u003cp\u003eMAREI's most important design work dates to the 1960s and '70s and is represented by decorative, vitrified, vases, jugs, and wall tiles, many of which bear resemblances to the products of Keto, Ruscha, and Roth. Their most iconic designs include the so-called Penguin Vase and the Chimney Vase series. The MAREI brand would survive until 2016 when the firm closed its doors.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eMAREI KERAMIK\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1970 to 1979\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eYear of Production\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1970 to 1979\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eGermany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Hand-Crafted, Modernist, Brutalist, Rustic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBlack, red\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e10.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14223685877802,"sku":"MAREI KERAMIK Nr. 4107 (25cm)","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200617_142811-01.jpg?v=1592422377"},{"product_id":"07-27-mcm-raymor-60s-orange-ringed-flowers-mantle-bitossi-pottery-vase-eames-era","title":"SHAPELY ORANGE BITOSSI VASE DESIGNED BY ALDO LONDI FOR RAYMOR","description":"\u003cp\u003eA very substantial 60s orange-glazed vase with a floral motif designed by Aldo Londi and produced at Bitossi Ceramiche for Raymor.  The feminine shape is accented with unglazed bands at the neck, 'hips,' and foot giving the vase a rather rustic feel.  There is a flat chip measuring roughly one-half inch at the base that blends in so well that we almost failed to notice it (see photos).  It does not detract\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eALDO LONDI (1911-2003)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003e was one of Italy's most noted master ceramicists who spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics manufactory Bitossi Ceramiche.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eLondi’s hometown just outside of Florence, Montelupo Fiorentino, has been an important center for pottery production since the Renaissance. In 1922, at the age of eleven, Londi started working for Fratelli Fanciullacci, the region’s premier ceramics workshop at the time. Following World War II—upon returning to Italy from South Africa, where he was a prisoner of war—Londi became Bitossi’s Creative Director. He would hold this position for more than 50 years and would design over 1,000 objects—ranging from jugs and vases to clocks and animal figurines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eLondi employed his high-level technical expertise and vast experience in traditional artisanal methods to create distinctively expressive and whimsical forms, patterns, and finishes. Londi’s best-known collection is the 1950s-era \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eRimini Blu\u003c\/span\u003e\u003c\/em\u003e (1955-1965), a now-iconic midcentury modern series encompassing over 150 designs, all glazed in vibrant blue and embossed with abstract motifs and shapes. Londi created \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eBall Vase,\u003c\/span\u003e\u003c\/em\u003e his first piece in Persiano Blue, in 1955. Not long after in 1959, he began to create more pieces in this proprietary chromatic finish. The collection holds historical importance because it helped to bring handcrafted works into the modernist design conversation in Italy. Although blue was not the only color Londi utilized, it has become closely associated with his oeuvre. Londi’s last solo collection, \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eArkitectura\u003c\/span\u003e\u003c\/em\u003e (ca. 1950s), was very different from his earlier work; it features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eStarting in 1958, Londi began a fruitful collaboration with legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi to be an important mentor. During his time at Bitossi, Londi also collaborated with Piero Fornasetti (1913-1988), Matteo Thun (b. 1952), and Karim Rashid (b. 1960).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eMost of Londi’s collections, including the \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eRimini Blu\u003c\/span\u003e\u003c\/em\u003e and \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eAkitectura\u003c\/span\u003e\u003c\/em\u003e, are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBITOSSI CERAMICHE\u003c\/strong\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino in Tuscany—a region with an ancient tradition of ceramics a few kilometers from Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, painters, but especially as potters. In the twentieth century, under Guido's leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, master ceramist Aldo Londi (1911-2003) was named BITOSSI CERAMICHE's creative director. He held the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. Nevertheless, he keenly appreciated the streamlined forms of the mid-century moment. He is best known for his 'Rimini Blu' collection (1955-1965), an iconic series comprised of over 150 designs—bowls, vases, jugs, and animal figurines—all glazed in a vibrant azure hue and embossed with abstract motifs and shapes. It helped to bring expressive, hand-crafted work into the modernist design conversation in Italy. Londi’s last solo collection, 'ARKitectura,' stands somewhat apart from his earlier work and features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum. Both collections are still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi's tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass. An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials concerning the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e6ʺW × 6ʺD × 12.25ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eItalian\u003c\/dd\u003e\n\u003cdd\u003eMid-Century\u003c\/dd\u003e\n\u003cdd\u003eRustic\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eBitossi\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDesigner\u003c\/dt\u003e\n\u003cdd\u003eAldo Lond\u003ca href=\"\/maker\/aldo-londi\"\u003ei\u003c\/a\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eItaly\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eEarthenware\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eGood Condition, Original Condition Unaltered, Some Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eOrange\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdd class=\"tear-sheet-actions js-product-tear-sheet-actions\"\u003e\n\u003ca aria-label=\"Print Tear Sheet\" rel=\"nofollow\" href=\"\/product\/3542869\/tear-sheet\"\u003e\u003cspan class=\"cicon cicon-printer\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca aria-label=\"Download Tear Sheet\" download=\"shapely-orange-bitossi-vase-designed-by-aldo-londi-for-raymor.pdf\" rel=\"nofollow\" href=\"\/product\/3542869\/tear-sheet?is_download=1\"\u003e\u003cspan class=\"cicon cicon-download\"\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Shallow Chip At Foot. See Photo\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14224222715946,"sku":"SHAPELY ORANGE BITOSSI VASE DESIGNED BY ALDO LONDI FOR RAYMOR","price":382.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211029_140954-01.jpg?v=1635535570"},{"product_id":"u-keramik-vase-1271-30","title":"Ü KERAMIK VASE Nr. 1271\/30","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA tall Ü KERAMIK flower vase from the 1970s.  A canary yellow top glaze commingles with a gun-metal underglaze to produce an iridescent, fat-lava drip.  Above the shoulder the vase is covered in high-gloss, selenium-red glaze, speckled with black.  Very chic.  A portion of the original foil label is intact.  (When held at certain angles to the light, the mold number and size in centimeters is still legible on the base through the thick glaze.)\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eÜ KERAMIK\u003c\/b\u003e (aka ÜBELACKER) began as a tin foundry in 1909 in the small town of Ransbach-Baumbach in the German state of Rhineland-Palatinate.  Master tinsmith Johann Übelacker initially produced simple pewterware, but he soon experimented with pieces that incorporated stoneware elements—in the manner of the common beer stein.  The popularity of these led to Ü KERAMIK's expansion into the manufacture of terracotta and fine earthenware goods and eventually, in the 1930s, the production of glazed ceramics.  Sometime after WWII, the firm began collaborating with Siershahner Feinsteinzeugfabrik, a maker of klinker pottery in nearby Siershahn, and by 1949 it had taken over its operations.  The companies combined employed more than 550 people and were well positioned to help supply war-weary Europe with the domestic trappings of a brighter, more prosperous future.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eJohann Übelacker was an early adopter of the ceramics industry's technical innovations.  To cite a late example, working with Ü KERAMIK's resident chemist and artistic director Heinz Hommerich in 1954, he pioneered the mass-scale production of objects glazed in selenium red.  The newly-formulated fiery finish gave Ü KERAMIK an enormous upper-hand in the marketplace.  It would be the last advance Übelacker would introduce personally; he died in 1955.  The business was left in the hands of his three sons, who had learned the trade from childhood.  Ü KERAMIK was one of the largest producers in the region by that time.  Its impressive range of products included all kinds of ceramic forms, both utilitarian and ornamental.  The 1958 catalogue featured 25 different models of vases (not counting wall vases and pitchers) available in 66 sizes and 15 designs.  A relatively large portion of Ü KERAMIK's output was exported to Austria and Scandinavia.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eIn 1960 Johann's sons were enticed by government incentives to co-establish Kilrush, a ceramics factory on Ireland's west coast.  Unfortunately, the concern failed after only two years.  (It was eventually acquired by Rosenthal in 1973.)  A second Irish factory was built in the 1980s to better service the Scandinavian markets, where Ü KERAMIK products remained extremely popular—even as interest in decorative ceramics in Germany waned.  However a second time proved no charm.  The venture was a financial debacle and left the brothers struggling with debt.  The factory in Siershahn had to be closed as a result.  Finally, in 1990, the main plant in Ransbach filed for bankruptcy.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eA note on identification:  Ü KERAMIK pieces were generally made of white or off-white clay and were usually marked on the bottom with only a form number and height.  Foil stickers with the company logo were frequently used; occasionally the logo can be found impressed on the base.  Consisting of a circled u-umlaut (ü), the logo bears a striking resemblance to a smiley face.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eÜ KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eYELLOW\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, DARK GRAY\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, RED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e30.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e12.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14259051135018,"sku":"Ü KERAMIK 1271\/30","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-717.jpeg?v=1559344771"},{"product_id":"kreutz-keramik-red-black-fat-lava-jug-vase-201-23-5-cm","title":"KREUTZ KERAMIK RED\/BLACK FAT-LAVA JUG VASE 201 (23.5 cm)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn astonishing '70s-era jug vase from KREUTZ KERAMIK.  Explosive black volcanic eruptions around the center contrast dramatically with the thick, fire-engine fat-lava glaze.  A striking specimen of KREUTZ's form no. 201.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eKREUTZ KERAMIK\u003c\/b\u003e was founded in 1958 by Helmut Kreutz in the picturesque village of Langenaubach in the central German state of Hesse.  Its products are characterized by red-clay bodies covered with very thick and bubbly glazes—the epitome of what's broadly thought of as German \"fat lava,\" we might argue.  KREUTZ often achieved foamy, cratered, or \"volcanic\" surfaces with the addition of organic substances to the glaze that released oxygen during firing, or, alternatively, the use of silicon carbide and its release of carbon dioxide.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eDetermining the origin of a KREUTZ vase can be a challenge as a good deal of the company's output was sold to other potteries—Montanus, Gerlach Keramik, and Marzi \u0026amp; Remy among them.  Naturally this causes consternation for those connoisseurs and historians trying to unravel the mysteries that continue to dog the study of post-war German art pottery.  The wholesale trade firm Riffarth also bought vases from KREUTZ and labeled them as their own.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eKREUTZ KERAMIK used red clay exclusively.  Shape numbers are often impressed on the base of items; size and country of origin are never indicated.  KREUTZ-branded vases usually had two paper stickers on them, the more prominent reading \"Kreutz Keramik\" and a secondary one, \"Handarbeit\" (handwork).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eKREUTZ KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eRED\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e23.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e16.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14262849339434,"sku":"KREUTZ 201 (23.5 cm)","price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-715_faffc917-90ba-44e8-9121-95037e5870a5.jpeg?v=1562534130"},{"product_id":"10-16-schramberg-majolika-smf-elfie-stadler-capri-seltene-vase-keramik-keramikvase","title":"ELFI STADLER ‘CAPRI’ VASE Nr. 4714 FOR SCHRAMBERG MAJOLIKA","description":"\u003cp\u003eA rare, organically shaped abstract vase designed in the 1950s by one of SCHRAMBERG MAJOLIKA-FABRIK's most noted and creative designers, Elfi Stadler. The bent and dented form is certainly one of her best, and is dressed in the curdled gray, white, and yellow glaze combination known as \u003ci\u003eCapri\u003c\/i\u003e.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSCHRAMBERG MAJOLIKA-FABRIK (SMF)\u003c\/b\u003e was founded as Faist'sche Steingutfabrik in 1820 by the stoneware expert Isidor Faist on the grounds of the abandoned Schramberg castle in the Middle Black Forest region of southwest Germany. By 1829 the factory had acquired the good repute necessary to convince Baron Ferdinand von Uechtritz to join Faist under the new name Steingut und Majolikafabrik Uechtritz \u0026amp; Faist. With the Baron's financial backing, the partners were able to build a new factory behind the castle and to drastically increase output. During the 1860s, the company maintained a workforce of 100 people. An impressive 6,000 home workers—e.g., decorators—mainly women and children, were also employed.\u003c\/p\u003e\n\u003cp\u003eIn 1882 SCHRAMBERG began fulfilling orders from Villeroy \u0026amp; Boch, who would buy the factory outright the following year. It continued to operate as a V\u0026amp;B subsidiary into the early 20\u003csup\u003eth\u003c\/sup\u003e century. When several buildings had to be demolished in 1911 to make way for a local railway, severely reducing output, Villeroy \u0026amp; Boch lost interest in the location. In 1912 it was sold to brothers Moritz and Leopold Meyer. The Meyers gave the firm its enduring name, SCHRAMBERG MAJOLIKA-FABRIK, and introduced the \"SMF\" mark. In 1918, the business was reorganized as a limited liability company (GmbH).\u003c\/p\u003e\n\u003cp\u003eThe Meyer brothers were always looking for new talent, and many famous artists joined the factory or contributed designs in the ensuing years. The Jewish-Hungarian designer Eva Zeisel (née Striker, 1906–2011) was a prominent force at SCHRAMBERG during the final years of the 1920s. She was much influenced by the Bauhaus movement, and her modern form and décor designs with their clean, sensuous lines leant an avant-garde appearance to a significant portion of the program. Zeisel sometimes felt that the firm's art department ignored her intended shape and decoration pairings; this was a particular problem with her wildly popular \u003ci\u003eMondrian\u003c\/i\u003e décor, which was often applied to forms that other modelers had created. SCHRAMBERG continued to produce Zeisel's designs, or variations thereof, for some time after she left the firm. (On a biographical note, Zeisel would land in jail in the Soviet Union in 1936, falsely accused of involvement in a plot to assassinate Stalin. She only just made it out of Austria to England on the eve of the Nazi invasion.)\u003c\/p\u003e\n\u003cp\u003eWith the dawn of the Great Depression, the production focus shifted exclusively to utilitarian ceramics. In 1938 the Meyers, being Jewish, were compelled by the Nazis to sell the factory as part of Germany's forced Aryanization. The following year the brothers emigrated to England with their families. In 1949, Moritz's son Peter Meyer (1922–1980) returned to Germany. His family was allowed to resume control of the business.\u003c\/p\u003e\n\u003cp\u003eThe first post-war generation was naturally focused on restoring the damaged factory, but happily, by the beginning of the 1950s, decorative ceramics had regained their former market share. Sophisticated glazes developed by the ceramic director Josef Saradeth and the temporary resumption of the stylized floral décors from the 1920s contributed to the recovery. New designs came from Ingrid Helmbrecht-Witzer and the longstanding senior painter Ferdinand Langenbacher, who had been with SCHRAMBERG since 1918. Other mid-century notables who worked for the company include the engineer Peter Ernhofer and designer Solveig Eriksen.\u003c\/p\u003e\n\u003cp\u003eThe highly qualified Elfriede \"Elfi\" Stadler (1930-1968) joined the firm in 1953. She would build on the Art Deco legacy of her distinguished predecessor, Eva Zeisel, and orient the firm's production toward the modern stylistic tendencies of the time. An Austrian, Stadler received her education at the Vienna University School of Arts and Crafts under the tutelage of ceramicist and sculptor Robert Obsieger (1884-1958). Her forms and décors would determine the appearance of SCHRAMBERG MAJOLIKA products until her departure in 1963. She was noted for experimenting with idiosyncratic shapes, some of which suggest that they were the result of an accident—being bent, curved, and dented. Stadler's really weird shapes are much coveted by enthusiasts and hard to find in collectibles markets. She died very young, 38 years old, but nevertheless remains a luminary in the history of German ceramics.\u003c\/p\u003e\n\u003cp\u003eIn 1970 Peter Meyer took over SCHRAMBERG MAJOLIKA as sole owner and continued the work of his father and uncle for another decade. He died from complications after a heart attack in 1980. The factory was afterwards led by various managing directors, among them Peter’s widow, Julie Luise Meyer (1929-2020), with only limited success. Some SCHRAMBERG workers would say that the heart and soul of the facility had died with Peter Meyer. In 1989, the factory was finally closed, and the area was cleared to make room for new industry.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eIDENTIFICATION: Products made of plain white limestone earthenware typically bear the company mark and often also the décor name and a four-digit form number under a transparent glaze. Occasionally three-digit form numbers can be found. A red clay series produced between 1956 and 1959 has neither markings nor form numbers. A significant part of the production was for export, mainly to the UK and Scandinavia and to a lesser degree the US. In-country, products were distributed via notable retailers and sold through department stores and mail-order companies.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eBeautiful things make people happy.\u003c\/i\u003e — Eva Striker Zeisel\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSCHRAMBERG MAJOLIKA-FABRIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eELFI STADLER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGRAY, WHITE, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. No imperfections. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ½\" DIAM. × 7\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14262869852202,"sku":"ELFIE STADLER 'CAPRI' DECOR VASE Nr. 4714 FOR SMF SCHRAMBERG MAJOLIKA","price":130.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20230930_132205-01.jpg?v=1696099210"},{"product_id":"11-02-x10","title":"RARE ERWIN SPULER VASE FROM HIS KARLSRUHE STUDIO","description":"\u003cp\u003eThis quirky handmade vase was created by Erwin Spuler in his studio at the factory workshop of MAJOLIKA KARLSRUHE in 1951. Perfect condition; signed and marked on the bottom.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eERWIN SPULER (1906–1964)\u003c\/b\u003e was born in the Bavarian city of Augsburg, Germany. He was a painter, ceramicist, graphic artist, filmmaker, and sculptor who was particularly active in the field of architectural art. From 1922 to 1923, he studied at the Württemberg State School of Applied Arts in Stuttgart under Gustav Jourdan, Alfred Lörcher, and Hans von Heider. He continued his education from 1923 to 1924 at the Badische State Art School in Karlsruhe with Georg Scholz, Karl Dillinger, and Ernst Würtenberger. In Karlsruhe, he developed a close friendship with Karl Hubbuch (1891–1979), with whom he collaborated, along with several other artists, in publishing the critical and satirical magazine \"Zapko\" in 1930. That same year, he received the Baden State Prize for Graphics.\u003c\/p\u003e\n\u003cp\u003eFrom 1931 until his death, Spuler would freelance at the ceramics workshop of MAJOLIKA KARLSRUHE. There, he created some very early examples of asymmetrical shapes that he coupled with emphatically modern décor designs; these would go into series production as early as 1950. In 1933, he began the photographic series \u003ci\u003e120 variationen über ein Gesicht\u003c\/i\u003e (120 Variations on a Face).\u003c\/p\u003e\n\u003cp\u003eDuring the war years between 1939 and 1941, Spuler also freelanced in the architecture and graphics department for UFA-Film AG Berlin. He was briefly employed as a border customs officer in the Metz district in 1941 before being called up for military service in 1942. Health problems, which included a heart attack, led to an early discharge from the Wehrmacht in 1943.\u003c\/p\u003e\n\u003cp\u003eIn 1948, Spuler received a teaching position for drawing and modeling in the Faculty of Architecture at the Karlsruhe Institute of Technology. One of his most important students there was the graphic artist and sculptor Wolfgang Trust (1926–1986).\u003c\/p\u003e\n\u003cp\u003eFrom 1950 on, Spuler developed an increasingly abstract design language. His graphic works of the period often suggested images of bombed cities. Successful sales made it possible for him and his wife Elisabeth (née Holzwarth, whom he had married in 1939) to make long, annual trips to the Côte d'Azur starting in 1954. There he would create an extensive cycle of drawings entitled \u003ci\u003eCôte d'Azur\u003c\/i\u003e. Spuler died in 1964 in Cros-de-Cagnes, France.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMAJOLIKA KARLSRUHE (MANUFACTORY)\u003c\/b\u003e was established in 1901 by Grand Duke Friedrich I of Baden (1826–1907), at the behest of its founders, artists Wilhelm Süs (1861–1933) and Hans Thoma (1839–1924). An “idyllic” spot was chosen in the Duke’s residential city, near the palace gardens, the nexus of princely power and artistic production—a connection immortalized for the plant’s 2001 centennial by the installation of a “blue ray” (\u003ci\u003eBlauer Strahl\u003c\/i\u003e in German), a path of blue majolica tiles, physically linking the palace tower to the factory.\u003c\/p\u003e\n\u003cp\u003eSüs and Thoma sought to revive the “majolica,” or faience technique, where “tin” glaze is applied to earthenware and used as a canvas for intricate colored decoration. The glaze, in reality, is a lead one, rendered white and opaque with the addition of tin oxide. Majolica’s manufacture involves dipping items in the white glaze, allowing it to dry, and then painting on designs before a second, high-temperature firing. The initial focus was on producing ceramics in the Italian Renaissance style, a choice influenced by their shared background and Süs’s prior experience running a ceramics studio. Towards the end of the decade, a signature style emerged—elaborate compositions, often including cherubim, on blue backgrounds. Eventually, MAJOLIKA KARLSRUHE would become a mirror for 20\u003csup\u003eth\u003c\/sup\u003e-century artistic movements, from Art Nouveau to Bauhaus.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA note on terminology\u003c\/b\u003e: What is referred to here as “majolica,” after the German usage, is often called “maiolica” in English, to distinguish it from the Victorian-era, mass-produced earthenware that uses a clear, \u003ci\u003ecolored\u003c\/i\u003e lead glaze applied over a molded relief body, fired only once. The confusion associated with these naming conventions is long-standing!\u003c\/p\u003e\n\u003cp\u003eFollowing revolutionary unrest at the end of WWI, popular demands for the establishment of a republic forced Grand Duke Friedrich II to abdicate, a peaceful transition and a pattern seen across all other German states. With the establishment of the Weimar Republic in 1918, the new Republic of Baden took over former royal properties, including MAJOLICA KARLSRUHE. The formal name \u003ci\u003eStaatliche Majolika Manufaktur Karlsruhe\u003c\/i\u003e was adopted in 1927 to indicate state ownership.\u003c\/p\u003e\n\u003cp\u003eDespite the specificity of its name, MAJOLIKA KARLSRUHE produced a wide range of artisan ceramics and was one of Germany’s leading ceramic producers generally. The quality of its work was excellent. Top designers before WWII included Ludwig König (1891–1974) and Max Läuger (1864–1952).\u003c\/p\u003e\n\u003cp\u003eThe factory was badly damaged by bombs in 1944 and did not return to the full-time production of decorative goods until the 1950s. By then, business had resumed much as in pre-war days, with both company-employed and freelance designers. One of the foremost post-war designers was Fridegart Glatzle (1920–2015), who joined MAJOLIKA KARLSRUHE in 1951. Over the next 30 years, she produced a huge range of designs; much of her work is highly collectible. Other designers of this period included luminaries Eva Fritz-Lindner (1933–2017) and Werner Meschede (1925–1981). The company provided its artists with their own studio space, commissioning their activity.\u003c\/p\u003e\n\u003cp\u003eMost MAJOLIKA KARLSRUHE pieces bear the company’s name and symbol—the arms of Baden above a double-joined ‘M’ for Majolika-Manufaktur. Items are marked with a form number and, with exceptions in the late 20\u003csup\u003eth\u003c\/sup\u003e, were made with red-orange clay. Product examples can be seen at the Badisches Landesmuseum in Karlsruhe.\u003c\/p\u003e\n\u003cp\u003eThe commercial production side of MAJOLIKA KARLSRUHE officially concluded its 123-year operating history at the end of 2024, with its final collection dispersed at a historic closing auction in early 2025. The site now primarily functions as a museum, hosting a foundation for the promotion of the ceramic arts.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eERWIN SPULER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1951\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLIGHT GRAY, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show slight traces of wear consistent with age and use..\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3\" W × 3\" D × 7 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14310536544298,"sku":"RARE ERWIN SPULER VASE FOR KARLSRUHER MAJOLIKA (1951)","price":240.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231006_115753-01.jpg?v=1696612639"},{"product_id":"redux-20","title":"‘THE TOWERS OF SAN GIMIGNANO’ BY DOUGLAS CONNELLY (1958)","description":"\u003cp\u003eA Tuscan landscape featuring the towers of San Gimignano, Italy, at twilight. California artist DOUGLAS CONNELLY uses the “chiaroscuro of nature”—the effects of vanishing light experienced outdoors—to model the skyline of the famous medieval hill town. Thirty-five miles south of Florence, San Gimignano served as a relay point for pilgrims traveling on the Via Francigena between Canterbury and Rome in the Middle Ages. Competition among the town’s patrician families led to the construction of more than seventy tower houses, some reaching heights of over 50 m. Fourteen of these monuments to their rivalry survive to this day. In an original frame built from recycled wood.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eDOUGLAS CONNELLY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1958\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eART BOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSIENNA, CREAM, OXBLOOD, NAVY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ½\" H × 28 ½\" W × 3\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14427474460714,"sku":"ART005","price":585.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250301_120921_1099bd27-90c6-4323-9ac7-d50d729b8acc.jpg?v=1740859809"},{"product_id":"chinoiserie-art-deco-table-lamp","title":"1920s ART DECO CHINOISERIE TABLE LAMP","description":"\u003cp\u003eA spectacular, chinoiserie Art Deco table lamp in solid-cast brass from the 1920s or ’30s. The theatrical bamboo motif features a pair of dragon-form rhizomes (see detail photos)! Recently rewired. Practically all of the original, patinated fittings have been retained.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eART DECO; CHINOISERIE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. Retains original patina. Rewired with a braided cloth cord. Paired with a vintage shade and finial.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions - \u003cb\u003e18ʺ W × 13ʺ D × 33ʺ H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14439975387178,"sku":"CHINOISERIE TABLE LAMP - SOLID BRASS (1920-30s)","price":1240.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/brass-bamboo-dragon-lamp-1.jpg?v=1555423974"},{"product_id":"marcello-fantoni-table-lamp","title":"MARCELLO FANTONI NEOCLASSICAL TABLE LAMP","description":"\u003cp\u003eA voluptuous and very early table lamp, with a classical décor, by Marcello Fantoni, “the master of beauty.” It embodies the tension, typical of Fantoni’s work, between the dual legacies of ancient and traditional Italian pottery and an arch conformance to the ideals of the Modernist and progressive movements.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARCELLO FANTONI (1915-2011)\u003c\/b\u003e was born in Florence in 1915. He began his studies at the Instituto d’Arte Porta Romana in Florence at the age of twelve under the great ceramicist Carlo Guerrini, then the creative director of the famed Cantagalli Factory. Fantoni’s training in the arts included sculpture classes with Libero Andreotti and Bruno Innocenti and instruction in figure drawing with the painter Gianni Vagnetti; he finally graduated from the institute as a maestro in 1934. Upon completing a stint as the art director of a ceramics factory in Perugia, he opened the Fantoni Ceramic Studio in Florence in 1936 where he produced both serial and one-of-a-kind pieces, the latter including sculptures and furnishings. In 1937 his work was shown in the Florence National Arts and Crafts Exhibit. Its decoration—with painted figures and African and marine motifs—and its rustic forms captured a great deal of attention. By the onset of World War II at the decade’s end, Fantoni’s integration of decidedly Modernist elements with ancient Italian pottery techniques had brought him artistic and commercial success, at home and abroad.\u003c\/p\u003e\n\u003cp\u003eIn the initial years after the War (during which he had participated in the Italian resistance) Fantoni worked for the 500-year-old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. In the 1950’s he refocused on his studio in Florence, dedicating himself to larger sculptural pieces and working together with collaborators. Fantoni’s post-war work, with its technical mastery and wholly unique abstract style, helped push ceramics into the sphere of the serious. It raised the profile of Italian ceramics in particular, laying the groundwork for their lasting prestige. Fantoni drew from varied influences—Primitivism, Novecento style, Cubism, and Abstract Expressionism—experimenting with materials and forms alike. A special emphasis on ancient Etruscan techniques, glazes, and colors heightened the timelessness of much of his work. In addition to clay, he frequently worked in metals to great effect. Every Fantoni piece was ultimately rendered unique by his hand-painting of it. His painting style remains one of the most identifiable qualities of his creations.\u003c\/p\u003e\n\u003cp\u003eIn 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. Many of his students and employees have gone on to become noteworthy artisans and artists in their own right. Fantoni maintained great versatility throughout his career and completed large-scale projects for public and private buildings. When he died in Florence in 2011 at the age of 95, his obituary in the Italian newspaper La Nazione hailed him “the master of beauty.”\u003c\/p\u003e\n\u003cp\u003eThe following museums hold works by Fantoni: MoMA New York, Metropolitan Museum of Art of New York, Brooklyn Museum, Museum of Fine Art of Boston, Victoria and Albert Museum of London, Royal Scottish Museum of Edinburg, Museums of Modern Art of Tokyo and Kyoto, International Museum of Ceramics in Faenza, National Bargello Museum and Gabinetto Disegni e Stampe of the Uffizi in Florence.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eIf done with passion, it becomes fashion.\u003c\/i\u003e – MARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eMARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eFIGURATIVE; ITALIAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePOTTERY, METAL, SILK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSKY BLUE, LIGHT GRAY, PINK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition with minor signs of previous use. The lamp body has been built and modeled completely by hand, and glazed in pastel colors with a crackle-type glaze that crazes in firing. The methods of production used give the surface an appearance of age; what may at first appear to be imperfections, are in reality intentional.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" DIAM. × 27 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14504325972010,"sku":"MARCELLO FANTONI TABLE LAMP - ITALY (1950s)","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-304.jpeg?v=1607650523"},{"product_id":"alfredo-barbini-murano-glass-table-lamp","title":"ALFREDO BARBINI MURANO GLASS TABLE LAMP","description":"\u003cp\u003eA 1960s Murano glass table lamp by Alfredo Barbini in a glorious shade of aqua. The fluted, tapered body of bullicante crystal with gold foil inclusions is newly set on a base of Carrara marble and paired with a lovely, vintage, faceted finial and a new shade. The lamp is completely restored with a three-way socket and new wiring.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALFREDO BARBINI (1912–2007)\u003c\/b\u003e was an Italian glass artist and designer primarily known for sculptures rendered in a signature vetro \u003ci\u003esommerso\u003c\/i\u003e (submerged) technique, where colors or additional pieces are seamlessly introduced to the larger whole. He was born on the islands of Murano in 1912. Both parents came from prominent glassmaking families. Barbini learned the traditional techniques of glassblowing in his teens as an apprentice at the Cristalleria Franchetti and the S.A.I.A.R. Ferro-Toso; by age 20 he was a recognized Maestro. Briefly employed at a workshop in Milan in 1932, he returned to Murano to work first at the newly formed Zecchin-Martinuzzi firm and then with Seguso Vetri d'Arte. From 1936 to 1944 he was a partner and master glassblower at Societa Anonima Vetri Artistici Murano (aka S.A.V.A.M.).\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, Barbini collaborated successively with the artists Archimede Seguso and Napoleone Martinuzzi, and then partnered at Vetreria Vistosi, and later with the artist Gino Cenedese. In 1950 he started his own furnace, Vetreria Alfredo Barbini (reorganized in 1983 as Alfredo Barbini SRL). The firm exhibited his work at the Venice Biennales from 1950 to 1961.\u003c\/p\u003e\n\u003cp\u003eThroughout his career, Barbini experimented with glass’s plasticity, creating delicately colored organic and biomorphic objects as well as figurative models and animals. He died in Venice in 2007.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eMurano’s reputation as a center for glassmaking began near the end of the 13\u003csup\u003eth\u003c\/sup\u003e century, when fearing fire the Venetian Republic ordered all glassmakers to move their furnaces to its islands.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALFREDO BARBINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eALFREDO BARBINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eITALIAN, MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMURANO GLASS, CRYSTAL, CARRARA MARBLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTURQUOISE, GOLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good. Lamp body of bullicante crystal is newly set on a base of Carrara marble and paired with a vintage finial and a new shade.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19\" DIAM. × 32\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14600949006378,"sku":"ALFREDO BARBINI TABLE LAMP - BULLICANTE MURANO GLASS (restored)","price":2250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200326_170821-01.jpg?v=1590513757"},{"product_id":"redux-ruscha-vase","title":"ORANGE AND BLACK RUSCHA KERAMIK VASE Nr. 833","description":"\u003cp\u003eA striking, orange-on-black, fat lava vase from RUSCHA KERAMIK. The textured matt black body is topped with contrasting, glossy orange, flowing fat lava.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e was launched in 1948 when Rudolf Schardt assumed management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in Rheinbach—a small town southeast of Bonn in the German state of North Rhine-Westphalia with a long tradition of earthenware pottery. (RUSCHA is a syllabic abbreviation of the name Rudolf Schardt.) The timing of the takeover put Schardt in a good position to take advantage of West Germany's post-war boom, and RUSCHA KERAMIK would become one of the leading lights of the \"golden age\" of German ceramics.\u003c\/p\u003e\n\u003cp\u003eRUSCHA is credited with some of the era's key developments. It produced some very successful and innovative forms and finishes, including the iconic model Nr. 313 (Kurt Tschörner, 1954)—probably the period's most famous shape—and the \u003ci\u003eVulcano\u003c\/i\u003e décor (Otto Gerharz, 1951), which anticipated by decades the move toward thick, dripping \"fat-lava\" glazes.\u003c\/p\u003e\n\u003cp\u003eAs well as high-quality vases, RUSCHA is celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications. Specimens from the '70s often exhibit remarkable volcanic glazes. When RUSCHA shuttered its factory in 1996, Scheurich Keramik acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eIDENTIFICATION: RUSCHA KERAMIK used white clay almost exclusively. Rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Vessels are typically embossed or incised with form numbers on their bases. If a model was available in more than one size, a single digit indicating relative size follows the form number (separated by dash or virgule). Lower form numbers (\u0026lt; 100) are occasionally preceded by a letter. Along with a handful of other manufacturers, RUSCHA would sometimes recycle model numbers—a cause of distress for some ardent collectors.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOtto Gerharz\u003c\/li\u003e\n\u003cli\u003eKurt Tschörner\u003c\/li\u003e\n\u003cli\u003eHanns Welling\u003c\/li\u003e\n\u003cli\u003eAdele Bolz\u003c\/li\u003e\n\u003cli\u003eHeinz Siery\u003c\/li\u003e\n\u003cli\u003eCilli Wörsdörfer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, ORANGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. No flaws. May show slight traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ½\" DIAM. × 7 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14607836020778,"sku":"ORANGE AND BLACK RUSCHA KERAMIK VASE Nr. 833 (18 cm)","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240112_124709-01.jpg?v=1705095470"},{"product_id":"urbano-zaccagnini-table-lamp-1940s","title":"1940s URBANO ZACCAGNINI TABLE LAMP","description":"\u003cp\u003eA prodigious, 1940’s Urbano Zaccagnini table lamp on a heavy mahogany base. The hand-thrown ceramic body is covered in a glossy white glaze and decorated with thick, horizontal striations and dark bands of Asian-inspired ornaments—as characteristic of much of Zaccagnini’s work from this period. We’re not sure we've seen another ZACCAGNINI lamp quite this large. Standing 4' tall (to the top of the shade), this one could even work as a floor lamp in some situations. (NOTE: the width and depth cited in the Details section reference the diameter of the shade; the lamp itself has a diameter of 10\" at its greatest point.)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eZACCAGNINI\u003c\/b\u003e was originally founded in Florence in 1905 as Ugo Zaccagnini \u0026amp; Figli (...\u0026amp; Children). Its namesake and founder, Ugo Zaccagnini (1868-1937), was born in Pistoia in Tuscany and studied at the Scuola di Disegno Industriale in Sesto Fiorentino. He next worked as a plaster modeler for the Richard-Ginori Ceramic Company in Sesto before opening a studio of his own in that municipality. It closed in 1896 when Zaccagnini entered into a partnership with six of the most talented artisans and craftsmen in Florence of the time: Egisto Fantechi, Luigi Ceccherini, Augusto Fantini, Francesco Grassi, Paolo Banchelli, and Giuseppe Conti. The enterprise was called La Societa Industriale per Fabbricazione della Maioliche Artistiche (the Society for Industrial Fabrication of Majolica Art) and known by the acronym SIFMA. Zaccagnini served as master sculptor and model maker during his years with SIMFA. Production was confined to the recreation of traditional majolica in the Renaissance style of the 15th and 16th centuries for which Italy was then famous. Zaccagnini, in the meantime, had grown increasingly enamored of the current Art Nouveau movement; he saw in its elements unprecedented freedom of design possibilities. This artistic difference would eventually lead to SIFMA’s breakup. In 1905 Zaccagnini left to once again open a factory of his own in Florence, this time with the help of sons Pietro, Urbano, and Prisco and daughters, Adele and Enrichetta. The new studio produced the standard offerings of the traditional Italian potter, but it was Zaccagnini’s new and surprising artistic creations that caught the attention of the art world. He would eventually become famous for both his Art Nouveau and, later, his Art Deco figures. The latter in particular are highly prized today. In 1912 the company relocated to Florence’s Piazza Pier Vettori where it boosted output. Zaccagnini exhibited at the Florence Crafts Exhibits, as well as the Milan Triennale and Trade Fair. In 1928 the factory was again expanded, taking over the industrial complex of a former fireworks factory on Via Monte Oliveto. The complex was set up like a village for its craftsmen, with individual houses serving as workshops.\u003cbr\u003e\u003cbr\u003eZaccagnini père passed away in 1937 at the age of 69. His firm’s overall management became the responsibility of his second eldest son, Urbano Zaccagnini (1901-1964), and its name was changed to Società Anonima Ceramiche Zaccagnini. A new logo was created —a capital “Z” with a squiggly line through it meant to represent Monte Oliveto. Zaccagnini fils immediately set about to change the company’s direction. With the help of entrepreneur Aristide Loria, he modernized production technology and enlarged capacity. Urbano Zaccgnini serving as artistic director, ZACCAGNINI collaborated on designs with new artists: Mario Bandini, Ottorino Palloni, Maurizio Tempestini, Gino Pozzi, renowned ceramist Leopold Anzengruber, majolica painter U. Ciardella, sculptor L. Contini, and Fosco Martini. The factory’s production focused almost exclusively on decorative wares at this time. A line of very popular animal figurines and graceful women in the Art Deco style was developed, and the company began to export its products, with North America as the primary target. Ties with American importers were cultivated, Zaccagnini personally making numerous trips to meet with American clients face to face. ZACCAGNINI figurines began appearing in stores such as Tiffany’s. In 1938 Zaccagnini obtained a license from Walt Disney Productions to create, in clay, Disney Studios’ famous animated characters. The fame of the ZACCAGNINI name in the US was thus ensured. It was Mario Bandini who had quickly modeled Snow White and the Seven Dwarfs, produced for sale at the Italian national preview of the feature at the Cinema Teatro Verdi (owned by former SIFMA partner, Egisto Fantechi). Though expensive, all available pieces sold out immediately. All were personally signed by Zaccagnini and marked “W1.”\u003c\/p\u003e\n\u003cp\u003eZACCAGNINI would eventually produce more than 150 Disney figurines—the likes of Donald Duck, Pluto, Pinocchio, Alice in Wonderland, and Peter Pan—all in a special crystalline glaze secretly made in its factory. The firm also created Disney salt-and-pepper shakers, children’s plates, cups, mugs, and other assorted Disneyana; some figurines today command prices in the thousands of dollars. Inactive during WWII, ZACCAGNINI reopened in 1945. In 1947 it was commissioned to manufacture reproductions of ancient ceramics for New York's Metropolitan Museum of Art. ZACCAGNINI reached peak production in the late ’40s and ’50s, during which time many simpler Modernist-inspired ceramic works were produced, as well as an abstraction-inspired line called ‘Svedese’ (Swedish). In 1950 a number of ZACCAGNINI ceramics were exhibited in the Italian Crafts Exhibition at the Brooklyn Museum. In the US, much of the work from this period was likened to the “Hollywood Regency” style, then en vogue, as it combined classical and modernist traits together with more opulent decorative flourishes. By now ZACCAGNINI was exporting all over the world and fast becoming collectible.\u003c\/p\u003e\n\u003cp\u003ePietro, Zaccagnini’s older brother, died in 1954. In 1958, after twenty years of successful leadership, Zaccagnini left the company to open his own ceramics studio, Urbano Zaccagnini Ceramiche Artistiche. He passed away in 1964, as did his younger brother Prisco the following year. This left the company to the sisters Adele and Enrichetta, as well as Ugo Zaccagnini’s grandchildren. It continued to operate, but much of its former luster had been lost. In the 1980s the firm turned exclusively to the production of ceramic bases for high-end lamp manufacturers. Many of these were created using Art Nouveau and Art Deco molds from the ’30s and ’40s. They often bear the Zaccagnini signature and command premium prices. ZACCAGNINI closed its doors in 2000, but many family members have since opened their own studios in and around Florence.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eURBANO ZACCAGNINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eZACCAGNINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eITALIAN; MID-CENTURY MODERN; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, MAHOGANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, SIENNA, TAUPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" DIAM. × 48 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14622089936938,"sku":"URBANO ZACCAGNINI TABLE LAMP - CERAMIC \u0026 WOOD (1940s)","price":972.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-933.jpeg?v=1564345747"},{"product_id":"guido-gambone-gourd-vase-31-5-cm","title":"GUIDO GAMBONE GOURD SHAPED CRACKLE-GLAZE VASE (REPAIRED)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA magnificent, gourd-shaped vase by maestro Guido Gambone—perhaps the finest Italian studio potter of the modern era.  The geometric design elements of the décor appear to include sun, moon, and stars—along with several groupings of more abstract, window-like forms.  It is clearly inscribed in the artist's hand on the base with Gambone's last name and his signature \"donkey\" mark.  There is an Invisible repair to the base.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eGUIDO GAMBONE\u003c\/b\u003e was arguably the most influential Italian ceramist of the previous century.  The elder Gambone (son Bruno was also a gifted potter) defined a unique style that fused traditional ceramic method with unstructured form, uniting the art of the past with that of the modern era.  His dynamic objects with their experimental glazes and eccentric patterns achieved great popularity in his day and are treasured holdings in today's private and museum collections.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eBorn in Montella in the southern Italian region of Campania in 1909, Gambone received his earliest ceramics training at the Manifattura Artistica Ceramica Salernitana in nearby Vietri sul Mare.  He continued his studies at the Industria Ceramica Salernitana (I.C.S.), eventually taking on its directorship.  Gambone moved north to Florence in 1936 with fellow artists Vincenzo Procida and Francesco Solimene to organize the Cantagalli ceramics company (named for founder Ulisse Cantagalli, 1839–1901) which specialized in reviving the rich colors and patterns of the Maiolica tradition.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eIn the early 1940s he teamed up with brother Remigio and friend Andrea D’Arienzo to establish his own ceramic factory in Vietri Marina, Salerno:  La Faenzerella.  Owing to wartime conditions the company grew rather slowly, but Gambone was soon winning prizes for its production.  In 1947, for example, he received the prestigious Premio Faenza award for a ceramic panel of his creation.  The genius of this phase of Gambone’s ceramic design rested primarily in his use of thick glazes, often rendered more viscous by the addition of glass and sand.  He continued in this style into the 1950s, when he established a second workshop in Florence:  La Tirrena.  In the new space Gambone advanced his earlier designs by working in larger, even more elaborate, amorphic forms.  He reunited with Vincenzo Procida at La Tirrena and also worked there collaboratively with his son Bruno Gambone.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e1950 saw the showcase of one of Gambone’s collaborative works at a group exhibition at the Brooklyn Museum in New York City.  In 1951 Gambone enjoyed a solo showing at the Galleria Il Milione in Milan.  By the end of the decade, he had achieved wide international acclaim.  He upheld his dedication to his work until 1967, when La Tirrena closed its doors.  Gambone died two years later at the age of 60.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1955-1964\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eITALY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eGUIDO GAMBONE (1909-1969)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e32.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e14.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":29410022817834,"sku":"GUIDO GAMBONE GOURD SHAPED CRACKLE GLAZED VASE (31.5 cm) - REPAIRED","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/Guido-Gambone-GUIDO-GAMBONE-GOURD-SHAPED-VASE-31-5-cm-444903-1883264.jpg?v=1622928047"},{"product_id":"paul-mccobb-planner-group-nightstand-for-winchendon","title":"MAPLE ‘PLANNER GROUP’ NIGHTSTAND BY PAUL McCOBB  FOR WINCHENDON","description":"\u003cp\u003eA two-drawer black and blond planner group nightstand with the iconic aluminum 'donut' or 'ring' pulls by Paul McCobb for Winchendon. The Planner group of modular furniture is considered a classic of modern design and remained in production from the late 1940s until it was discontinued in 1964.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePAUL McCOBB\u003c\/b\u003e was one of the leading contemporary furniture designers in America in the 1950's and 60's. Despite a lack of formal training, he created an impressive range of multi-functional furniture, accessories, and textiles. He also took on many notable interior design projects. McCobb opened his own studio in 1945 and rose to prominence a few years later as a design and decorating consultant for Martin Feinman’s Modernage Furniture in New York City. It was there he met his future business partner, B.G. Mesberg.\u003c\/p\u003e\n\u003cp\u003eMcCobb capitalized on the post-war demands of young and growing families for simple, affordable, and stylish furniture. His pieces were inexpensive, flexible, and practical. He helped to popularize \"modular\" furniture, and his \"living walls\" with their moveable room dividers and storage systems perfectly fit the evolving, informal lifestyles of the period. By 1950, he had created his Planner Group line of furniture, marketed by Mesberg. Its wildly successful design adhered to a minimalist aesthetic; the line would remain in production through 1964. Other important collections followed, including the Predictor Group for O'Hearn and the Directional Group for WINCHENDON. McCobb's work commanded a large share of the American market.\u003c\/p\u003e\n\u003cp\u003eIn addition to furniture, McCobb designed radios and televisions for CBS-Columbia and hi-fi consoles for Bell \u0026amp; Howell. He acted as design consultant for many leading American corporations, including Singer, Alcoa, Goodyear, Columbia Records, and Remington Rand. McCobb traveled throughout America for speaking engagements, panel discussions, and radio and television talk show appearances, and his syndicated design column appeared in newspapers across the country.  He served as a visiting faculty member at the Philadelphia Museum School of Art.\u003c\/p\u003e\n\u003cp\u003eInspired by his New England upbringing and influenced by Shaker Design, McCobb's work generally combined slender lines with sculptural forms. He offered a playful take on traditional forms with nods to Scandinavian craftsmanship and International Style clarity. He was the recipient of MoMA's Good Design Award five times between 1950 and 1955 as well as of the Philadelphia Museum of Arts' Contribution to Better Design Award in 1959. He died at the young age of 51 in 1969.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eContemporary American design is not the Chinese influence, the Swedish or the Italian influence. It is an American influence that has an American look about it and has the feeling of belonging in our homes. Such design fits the size and shape of our rooms.\u003c\/i\u003e – PAUL McCOBB\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWINCHENDON FURNITURE CO.\u003c\/b\u003e was founded by Richard E. Ladeau in 1939, as Winchendon Custom Upholstery Company, Inc. It is most well known as the company that produced the wildly successful Planner Group of contemporary furniture designed by Paul McCobb. Among the best-selling contemporary furniture lines of the 1950s, it was in continuous production from 1949 until 1964.\u003c\/p\u003e\n\u003cp\u003eWINCHENDON is still a family-run company but has transitioned over the years from furniture building into a brand name retailer. The main showroom is in Winchendon, Massachusetts.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eWinchendon Furniture Co.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e1949-1964\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003ePaul McCobb\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMid-Century Modern; Minimalism\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eL\u003cmeta charset=\"utf-8\"\u003ea\u003cmeta charset=\"utf-8\"\u003ecquer, maple, aluminum\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eBlack, blond\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions -\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e24ʺ W × 18ʺ D × 26ʺ H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":29420664422442,"sku":"PAUL MCCOBB 'PLANNER GROUP' MAPLE NIGHTSTAND FOR WINCHENDON","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20230113_162714_1-01.jpg?v=1673649019"},{"product_id":"villa-collection-denmark-tabletop-sculpture","title":"VILLA COLLECTION DENMARK TABLETOP SCULPTURE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn intriguing, hand-made, metal tabletop sculpture on a wooden stand from VILLA COLLECTION DENMARK, a retailer\/distributor of fine, handcrafts for the home.  Probably dating to the early '80s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1975-1984\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eMETAL\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WOOD\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e23.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e16.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e4.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":29611580948522,"sku":"VILLA COLLECTION DENMARK","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-1338.jpeg?v=1568397903"},{"product_id":"ubelacker-u-keramik-fat-lava-vase-1438-30","title":"TANGERINE Ü-KERAMIK FAT LAVA VASE Nr. 1438\/30","description":"\u003cp\u003eA tall, rectangular, tangerine-orange vase from Ü-Keramik that transitions at the shoulder to a round neck and mouth covered with a thick and bubbly white fat-lava drip glaze.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eÜ-KERAMIK (aka ÜBELACKER)\u003c\/b\u003e began as a tin foundry in 1909 in the small town of Ransbach-Baumbach in the southwest German state of Rhineland-Palatinate. Master tinsmith Johann Übelacker initially produced simple pewterware, but he was soon experimenting with pieces that incorporated stoneware elements—in the manner of the common beer stein. The popularity of these led to Ü-KERAMIK's expansion into, first, the manufacture of terracotta and fine earthenware goods and, in the 1930s, the production of glazed ceramics.\u003c\/p\u003e\n\u003cp\u003eAt some point following WWII, Ü-KERAMIK began collaborating with Siershahner Feinsteinzeugfabrik, a maker of \"klinker\" pottery in nearby Siershahn, and by 1949 it had taken over that company's operations. Combined the two factories employed more than 550 people. They were well positioned to help supply war-weary Europe with the domestic trappings of a brighter, more prosperous future.\u003c\/p\u003e\n\u003cp\u003eÜbelacker was an early adopter of his industry's technical innovations. To cite one late example, working with Ü-KERAMIK's resident chemist and artistic director Heinz Hommerich in 1954, he pioneered the mass-scale production of objects glazed in selenium red. The newly-formulated fiery finish gave Ü-KERAMIK an enormous upper-hand in the marketplace. Sadly it would be the last advance Übelacker would introduce personally as he died the next year in 1955.\u003c\/p\u003e\n\u003cp\u003eThe business was left in the hands of his three sons, who had learned the trade from childhood. By then Ü-KERAMIK was one of the largest producers in the region. Its impressive range of products included all kinds of ceramic forms, both utilitarian and ornamental. The 1958 catalogue featured 25 different models of vases (not counting wall vases and pitchers) available in 66 sizes and 15 designs. A relatively large portion of Ü-KERAMIK's output was exported to Austria and Scandinavia.\u003c\/p\u003e\n\u003cp\u003eIn 1960 Johann's sons were enticed by government incentives to co-establish Kilrush, a ceramics factory on Ireland's west coast. Unfortunately, the concern failed after only two years. (It was eventually acquired by Rosenthal in 1973.) A second Irish factory was built in the 1980s to better service Scandinavian markets—where Ü-KERAMIK products remained extremely popular, even as German interest in decorative ceramics waned. However this second time proved no charm. The venture was a financial debacle and left the three brothers struggling with debt; the factory in Siershahn had to shutter as a result. Finally the main plant in Ransbach filed for bankruptcy in 1990.\u003c\/p\u003e\n\u003cp\u003eA note on identification: Ü-KERAMIK pieces were generally made of white or off-white clay and were usually marked on the bottom with only a form number and height. Foil stickers with the company logo were frequently used; occasionally the logo can be found impressed on the base. Consisting of a circled u-umlaut (ü), the logo bears a striking resemblance to a smiley face!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eÜ-KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTANGERINE, WHITE, DOVE GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show some signs of age and previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3 ½\" W × 3 ½\" D × 11 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30254071545898,"sku":"ÜBELACKER (Ü-KERAMIK) 1438\/30","price":140.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231006_144610-01.jpg?v=1696711647"},{"product_id":"paul-mccobb-irwin-collection-double-dresser-for-calvin-furniture-1950s","title":"PAUL McCOBB ‘IRWIN COLLECTION’ DOUBLE-DRESSER FOR CALVIN FURNITURE (1950s)","description":"\u003cp\u003eA completely refurbished, bleached mahogany \u003ci\u003eIrwin Collection\u003c\/i\u003e double-dresser on a squared tubular brass base, with an approximation of the original drawer hardware. \u003ci\u003eIrwin\u003c\/i\u003e was designed by Paul McCobb in 1956 for CALVIN FURNITURE (1953-1973) of Grand Rapids, Mich. As with many pieces produced with this base style, slight bends are expected—with no effect on structural integrity. This piece is in excellent vintage condition and is ready to place.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003ePAUL McCOBB (1917–1969)\u003c\/b\u003e was a leading American furniture designer in the 1950s and ’60s. Despite a lack of formal training, he was responsible for an impressive range of furniture, textiles, and accessories. Born outside of Boston in Medford, Mass., in 1917, McCobb received an early education in painting under private tutelage before attending Boston’s Vesper George School of Art. After a brief stint during WWII in the camouflage unit of the US Army Corps of Engineers, he moved to New York City in 1945 and opened Paul McCobb Design Associates. The new firm quickly took on clients.\u003c\/p\u003e\n\u003cp\u003eA commission with Modernage Furniture proved particularly advantageous, and McCobb rose to local prominence designing displays for the store’s in-house furniture line. He met employee Bernard G. “B.G.” Mesberg (1906—1977), a former furniture distributor from Milwaukee, on the sales floor; their animated conversations about a \u003ci\u003enew\u003c\/i\u003e kind of furniture—one that would embrace futuristic, industrial design on the one hand and mass production as a means of supplying high-quality, low-cost products to the middle-class housing market on the other—would ultimately give rise to the \u003ci\u003ePlanner Group\u003c\/i\u003e. Released to retailers in 1949 and then to consumers in 1950, the  collection would be among the best-selling furniture lines of the era. Under their contract, McCobb took charge of design and Mesberg was responsible for production and distribution.\u003c\/p\u003e\n\u003cp\u003eMcCobb was able to capitalize on the desires of young American families for simple, affordable, stylish furniture. His work was flexible, practical, and inexpensive, and his collections gave his buyers’ homes an instant “look.” He introduced the concept of “modular” furniture—and his “living walls,” with their moveable room dividers and storage systems, perfectly fit the evolving, informal lifestyles of mid-century America. Inspired by his New England upbringing and influenced by Shaker Design, McCobb's work combined slender lines with sculptural forms. He offered a playful take on traditional forms—with nods to Scandinavian craftsmanship and the clarity of International Style. The \u003ci\u003ePlanner Group\u003c\/i\u003e embraced a minimalist aesthetic—easy to understand and easy to use. The collections that followed, including the \u003ci\u003ePredictor Group\u003c\/i\u003e for O'Hearn and the \u003ci\u003eDirectional Group\u003c\/i\u003e for Winchendon, positioned McCobb to command a substantial market share. The \u003ci\u003ePlanner Group\u003c\/i\u003e remained in production through 1964.\u003c\/p\u003e\n\u003cp\u003eMcCobb designed every imaginable home furnishing, including radios and televisions, kitchen cabinets, china, and textiles. He served as a consultant to many leading American corporations—Singer, Alcoa, Goodyear, Columbia Records, and Remington Rand—and traveled throughout America for speaking engagements, panel discussions, and talk show appearances. His syndicated design column appeared in newspapers across the country. He served as a visiting faculty member at the Philadelphia Museum School of Art.\u003c\/p\u003e\n\u003cp\u003eMcCobb was the recipient of MoMA’s Good Design Award five times between 1950 and 1955 as well as of the Philadelphia Museum of Arts’ Contribution to Better Design Award in 1959. His work can be found in the collections of the Brooklyn Museum, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Cleveland Museum of Art, and the Cooper Hewitt, Smithsonian Design Museum in Manhattan. After struggling with a long illness, McCobb died at the age of 51 in 1969.\u003c\/p\u003e\n\u003cp\u003eHis obituary in “The New York Times” referred to McCobb as \u003ci\u003ethe\u003c\/i\u003e American designer. “By careful attention to detail, a selective use of materials, an analysis of function and a sensibility for balance and scale, Mr. McCobb provided post-World War II Americans with a multitude of contemporary designs for the home that fulfilled esthetic and budgetary requirements.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eContemporary American design is not the Chinese influence, the Swedish or the Italian influence. It is an American influence that has an American look about it and has the feeling of belonging in our homes. Such design fits the size and shape of our rooms.\u003c\/i\u003e – PAUL McCOBB\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCALVIN FURNITURE COMPANY\u003c\/b\u003e of Grand Rapids, Mich., opened its doors in 1953 and quickly gained recognition as a premier contract manufacturer for leading American furniture designers and brands of the mid-century era. The company's stylish modern and Hollywood Regency pieces were prominently featured in department store showrooms across North America throughout the 1950s and 1960s.\u003c\/p\u003e\n\u003cp\u003eIn its very early days, CALVIN partnered with Paul McCobb, the American furniture designer, well known for sleek, minimalist designs drawing on Shaker simplicity and Bauhaus minimalism. McCobb, in partnership with New York furniture salesman B.G. Mesberg, set up the Directional Furniture Company in Manhattan in 1949 and subsequently contracted with CALVIN to produce its designs.\u003c\/p\u003e\n\u003cp\u003eAmong the most acclaimed McCobb lines produced by CALVIN were \u003ci\u003ethe Calvin Group\u003c\/i\u003e and \u003ci\u003ethe Irwin Collection\u003c\/i\u003e. The company also manufactured the popular \u003ci\u003eAmerican Design Foundation\u003c\/i\u003e furniture line designed by Kipp Stewart and Stewart MacDougall. That duo’s dining chairs, tables, and coffee tables flaunt their collection‘s clean lines, gentle curves, and organic shapes.\u003c\/p\u003e\n\u003cp\u003eCALVIN FURNITURE continued its business relationship with McCobb via B.G. Mesberg National Sales and Directional Furniture through the late 1950s and early ‘60s. CALVIN finally closed its doors in 1973, but its enduring legacy can be found in the pieces of modern furniture that remain popular today.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePAUL McCOBB\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1956\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCALVIN FURNITURE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMAHOGANY, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eAMBER, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent, restored vintage condition. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e60\" W × 18\" D × 30\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30262571991082,"sku":"PAUL MCCOBB 'IRWIN COLLECTION' DOUBLE DRESSER FOR CALVIN FURNITURE - MAHOGANY AND BRASS (1950s)","price":8250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220804_162828_1-01.jpg?v=1659651656"},{"product_id":"carstens-burgundy-splash-floor-vase","title":"CARSTENS ‘ATELIER’ SERIES I FLOOR VASE Nr. 7300\/50","description":"\u003cp\u003eA large Carstens Tönnieshof floor vase from the first \"Atelier Series\" of 1962-64.  The form was designed by master potter Heins Siery and the rare matt black volcanic and glossy oxblood decor by Gerda Heukeroth\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCARSTENS TÖNNIESHOF\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas founded in 1946 by Ernst Carstens and his son Christian. Their family had had a long prior history of manufacturing ceramics and porcelain in Germany, but all of its businesses had collapsed by the end of WWII. Most of the CARSTENS factories wound up on East German soil when the country was divided and so were expropriated by the DDR. Father and son built the new Tönnieshof factory on a farm of that name in Fredelsloh in Lower Saxony, just west of the border with East Germany. Production of table ceramics began in 1947; the first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eCARSTENS TÖNNIESHOFF was very successful for many years and produced an enormous variety of shapes and glazes. The 'Luxus' and 'Atelier' ranges were more expensive lines and they sold in large department stores—'Atelier,' launched in 1962, was the creation of renowned designer Gerda Heuckeroth. Helmut Scholtis introduced the very popular 'Ankara' décor in 1963 during a stint with CARSTENS; an example of the \"wax resist\" technique, it was applied to a broad array of forms. Lava glazes were employed during the second half of the 1960s. Production was eventually expanded abroad to Austria, Chile, Argentina, and Australia—it may well have topped out at close to 10,000 items daily. Other distinguished designers on CARSTENS' roster included Heinz Siery, Rudolph Christmann, and Dieter Peter. The firm went bankrupt in 1977.\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\" class=\"designer-text\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eHEINZ SIERY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e was a true luminary in the world of ceramics in the 1950s and '60s.  His form designs had a significant impact on the product styles of makers Fohr, Scheurich, Carstens, and Ruscha, among others.  Siery often employed \"the golden ratio\" (or an approximation) while designing, lending harmonious proportion to his work.  This can be clearly seen in his most iconic vase, no. 271\/22 for Scheurich.  Presented in 1959, it was extremely popular and was still being manufactured in the 1970s.  Siery also developed and introduced new methods of industrial organization.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eIn 1969 Siery and his wife, Ingrid Siery-Illgner, established a jointly operated studio, Atelier Syré, near the historic town of Euskirchen in North Rhine-Westphalia out of which they both freelanced.  (Ingrid had also designed decorative objects for Carstens and overseen the design department at the Wächtersbach earthenware factory.)  In addition to commissioned work, the couple produced creations of their own—notably elegant, figural sculptures made of bronze, whose simple, classical forms and sleek lines evoke the work of Henry Moore and Joannis Avramidis.  Atelier Syré houses a sculpture park home to more than 300 of these works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGERDA HEUCKEROTH\u003c\/strong\u003e began her career with an apprenticeship under renowned ceramist Siegfried Möller and studies at the School of Applied Arts in Bremen.  She showed her first pieces at the Grassi Museum in Leipzig in 1939.  Less than two years later she was appointed the artistic director at Carstens-Uffrect KG in Neuhaldensleben and soon took over the management of the group's Hubbe branch.  (The Carstens-Uffrecht factory would be nationalized by the DDR with the division of Germany and operate as VEB Haldensleben up until reunification.)  During WWII Heuckeroth set up a workshop in her home in a suburban district of Hamburg.  Following the war, she worked for various firms, among them Grünstadt, Villeroy \u0026amp; Boch, and the Koninkliijk Plateelbakkerij Zuid Holland in Gouda, as a designer of both forms and décors.  Heuckeroth became artistic director of Ruscha Keramik in 1959 when Hanns Welling left the company.  She succeeded him again in 1962 as the senior designer for Ceramano.  In 1964 she moved to CARSTENS TÖNNIESHOF as head of its Atelier department, where she produced a great number of outstanding designs.  Along with much of her early work, these have become highly sought-after by a new generation of collectors.  Eventually retiring from industry, Heuckeroth returned to freelancing out of her Hamburg studio.  Her work has received numerous awards and prizes over the years at national and international exhibitions.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e11ʺW × 11ʺD × 20ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBohoChic\u003c\/dd\u003e\n\u003cdd\u003eMid-Century Modern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eCarstens Tönnieshof\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eBrick Red\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdd class=\"tear-sheet-actions js-product-tear-sheet-actions\"\u003e\n\u003ca aria-label=\"Print Tear Sheet\" rel=\"nofollow\" href=\"\/product\/3400554\/tear-sheet\"\u003e\u003cspan class=\"cicon cicon-printer\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca aria-label=\"Download Tear Sheet\" download=\"carstens-atelier-series-i-floor-vase-730050-196264.pdf\" rel=\"nofollow\" href=\"\/product\/3400554\/tear-sheet?is_download=1\"\u003e\u003cspan class=\"cicon cicon-download\"\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\n\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Conditiin \u003c\/span\u003e\u003cspan class=\"hidden js-swap-sibling\"\u003eExcellent Vintage Condition\u003c\/span\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdiv class=\"product-info-footer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30265030869034,"sku":"CARSTENS ATELIER SERIES I 7300\/50 (1962\/64)","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210830_141736-01.jpg?v=1630354940"},{"product_id":"bodo-mans-brasil-floor-vase-291-40-for-bay-keramik-rare","title":"BODO MANS ‘BRASIL’ FLOOR VASE 291\/40 FOR BAY KERAMIK (RARE)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA stunning and rare Bay Keramik floor vase finished with renowned designer Bodo Mans's 'Brasil' décor (1958).\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eBODO MANS\u003c\/b\u003e was born in 1935.  From 1949 to 1951 he apprenticed as a window dresser and a decorative painter.  He next trained as a graphic designer in Cologne before taking up the study of ceramics at the technical school in Höhr-Grenzhausen (1954-1956).  After brief employment as a ceramic painter with Keto Keramik, he took a temporary job at the Madoura company in Vallauris, a small community in southeastern France bordering the resort town of Antibes.  The Madoura workshop is famously where Picasso realized his ceramic designs while living in Vallauris (1948-1955).\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eFollowing his 1957 return to Germany and a short stint with Ruscha Keramik, Mans went to work as a designer for Marei Keramik in Rheinbach, where he was employed through the end of 1958.  Clear influence of his earlier work at Keto is seen in his work for Marei.  Some of his designs from the period were adopted by BAY KERAMIK of Ransbach-Baumbach, and in 1959 Mans began to freelance officially for the company, providing plans for both forms and décors.  Well-known examples of the latter include 'Reims' (approx. 1960), 'Istanbul,' 'Ravenna,' and 'Saarburg' (all approx. 1961).  Mans became a permanent designer for BAY in 1962.  That same year, along with Liesel Spornhauer and others, he became a founding member of the ceramic group \"Muffel.\"  Its exhibitions brought his ceramic objects and murals to public attention; he won great acclaim for their color, playfulness, and formal technical design.  The popularity of his early work for BAY anticipated that of German art pottery more generally.  Mans officially retired from BAY in 1975.  Since then he worked as a freelance industrial designer, painter, graphic artist, and journalist.  He passed away in 2001.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eBAY KERAMIK\u003c\/b\u003e was founded in 1934 by Eduard Bay in Ransbach-Baumbach, a small town in the heart of the Kannenbäckerland in western Germany.  (The Kannenbäckerland, or \"potters' land\"—a historic center of ceramics industry—is the site of the largest clay deposit in Europe.)  Its output was primarily utilitarian prior to the early 1950s when more and more decorative items were introduced. Production and sales grew rapidly throughout the decade, and, by the early 1960s, BAY was a leading manufacturer of art ceramics.  Bodo Mans, probably the the best-known designer of the period, was employed by the company from 1959 through 1975. His work is considered highly collectible today.  The company's art pottery production continued into the 1980s and included some striking work that often showcased utterly fantastic specialty glazes.  On the other hand, a huge amount of kitsch was produced for the tourist trade.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eBAY KERAMIK used white clay exclusively; marks are almost always molded to the base.  The name BAY often appears.  The country of origin is typically noted as \"WEST-GERMANY\" or \"W-GERMANY.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Year – \u003cspan\u003e\u003cb\u003e1958\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eBODO MANS (1935-2001)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eBAY KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eTERRA COTTA\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, MULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e40.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e11.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30265127960618,"sku":"BODO MANS \"BRAZIL\" 291\/40 FOR BAY KERAMIK - VERY RARE (1956)","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20191206_150449-01.jpg?v=1575668114"},{"product_id":"mia-e-202777501498","title":"VIBRANT SCHEURICH ‘LORA’ FLOOR VASE Nr. 290\/40","description":"\u003cp\u003eA tall SCHEURICH KERAMIK floor vase shaped like a vintage milk bottle, with the zig-zag \u003ci\u003eLora\u003c\/i\u003e décor in red on a toasted marshmallow ground. \u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e had its origins in a joint venture launched in 1928 by Alois Scheurich (d. 1968) and his cousin Fridolin Greulich in the small town of Schneeberg near the Czech border in Saxony—wholesaling glass, porcelain, and ceramics. The business was moved to the market community of Kleinheubach in the northeast corner of Bavaria in 1938, and ten years later the partners began to produce household ceramics of their own, selling them under the name Scheurich \u0026amp; Greulich. The partnership was dissolved in 1954, and Alois founded Scheurich GmbH \u0026amp; Co. KG to continue production on his own. The new company employed one of Germany's first electrical tunnel kilns.\u003c\/p\u003e\n\u003cp\u003eThe celebrated designer Heinz Siery was recruited as SCHEURICH’s lead modeler the following year in 1955. In addition to creating his own extensive range of shapes, Siery helped the firm develop its overarching product strategy. SCHEURICH would manufacture an assortment of simple forms that could be made cheaply and then decorated in a great variety of glazes. The natural result was an enormous range of merchandise that was both diverse and easily adaptable. The approach proved altogether successful.\u003c\/p\u003e\n\u003cp\u003eLow prices combined with a dizzying array of attractive designs translated into millions in sales for SCHEURICH, and the company remained one of the largest manufacturers of ceramics in Germany through the 1980s. To keep pace with the public's everchanging tastes, décors were adapted twice a year. Some of the better-known décors include the hand-painted \u003ci\u003eMontignac\u003c\/i\u003e (1972–1973); \u003ci\u003eAmsterdam\u003c\/i\u003e (1974–1975), with its onion motif (\u003ci\u003eZwiebeldekor\u003c\/i\u003e); \u003ci\u003eFabiola\u003c\/i\u003e, with its flowing, brown-red top glaze; and \u003ci\u003eJura\u003c\/i\u003e, with its fossil, or snail, motif.\u003c\/p\u003e\n\u003cp\u003eAmong the more famous components of the décors used to finish mid-century ceramics are the unusually thick, often flowing glazes nicknamed \"fat lava.\" (Strictly speaking, \"fat\" is something of a misnomer, generally thought to be a careless translation of the German word \u003ci\u003egroß\u003c\/i\u003e—meaning \"large,\" or \"thick\"—referring here to the depth of the glaze, how much it rises above the surface of the clay, not its viscosity.) The term has proven slippery. Some conflate it with volcanic glazing generally, where the use of certain ingredients cause controlled, gaseous explosions, producing holes in the glazes that are visually suggestive of lava (or the surface of the moon); some apply it wholesale to all German pottery from the mid century! Regardless, fat lava glazes were very popular in the '60s and '70s, and SCHEURICH produced many stunning examples.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK used white clay exclusively. Objects were always formed by mold and were fired at 1000 degrees Celsius. A minimum of 500 pieces were made of every item that was produced. Identifying marks were embossed on the base. Model numbers are three digits long and followed by the height of the object in whole centimeters (the single exception being form Nr. 405 which is measured at 13.5 cm), usually with a dash separating the two components. Most SCHEURICH items have no embossed company mark. If noted, country of origin appears as either W. GERMANY or WEST GERMANY (occasionally abbreviated to GERM). Many SCHEURICH items retain their original foil or paper labels.\u003c\/p\u003e\n\u003cp\u003eSCHEURICH KERAMIK exported more ceramics than any other German company. Some lines were specifically manufactured for foreign markets. Indeed, the historical distributions of particular forms and glazes suggest that some were produced for specific countries. The bottoms of exported vases are often embossed with the word \"FOREIGN\" rather than \"WEST GERMANY.\" Not surprisingly, some vases so marked wound up on the home market.\u003c\/p\u003e\n\u003cp\u003eIn addition to vases, SCHEURICH's mid-century output included flower pots, ashtrays, piggy banks, candle holders, beer mugs, buffet clocks, and wall plaques. By the late 1980s, the shapes and colors of its vases had become rather pedestrian; this work is not attractive to collectors. As a subsidiary of Sheurich-Group GmbH, the European market leader for indoor and outdoor planters, SCHEURICH KERAMIK is still in operation today.\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHeinz Siery, forms\u003c\/li\u003e\n\u003cli\u003eA Seidel, forms\u003c\/li\u003e\n\u003cli\u003eOswald Kleudgen, glazes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSCHEURICH KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\/YEAR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; ABSTRACT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, ANTIQUE WHITE, TAN, BROWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor signs of previous ownership consistent with age and use. Virtually pristine.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 16\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30757808013354,"sku":"VIBRANT SCHEURICH 'LORA' FLOOR VASE Nr. 290\/40","price":255.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230826_134107_1-01.jpg?v=1693076681"}],"url":"https:\/\/modernredux.myshopify.com\/collections\/active.oembed?page=3","provider":"MODERN REDUX","version":"1.0","type":"link"}