{"title":"POTTERY","description":"","products":[{"product_id":"dumler-breiden-polar-relief-vase-24-14","title":"BLUE-GREEN DÜMLER \u0026 BREIDEN ‘POLAR’ DÉCOR RELIEF VASE Nr. 24\/14","description":"\u003cp\u003eA short, pencil-cup column vase from DÜMLER \u0026amp; BREIDEN—finished in the über-collectible \u003ci\u003ePolar\u003c\/i\u003e décor, with its characteristic, dueling contrasts of colors and textures. The icy blue\/green, off-white, and black glazes evoke the arctic regions and suggest a “frozen” aesthetic. The central band of smooth, glossy glaze is sandwiched between rougher, more matte layers of “fat lava.” Adding to its appeal, the vase’s eccentric footprint matches the swirling shape of the meteorological symbol for a hurricane: its wing points being the seams created by the slip-cast process, cleverly integrated into the artistic design. From the late 1960s. The base is incised with the model number and the “crossed-swords” maker’s mark, confirming authenticity.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\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\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\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\u003eTEAL, BLACK, WHITE\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\u003e3 ¼\" W × 2 ¾\" D × 5 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":52913669124,"sku":"BLUE-GREEN D\u0026B ‘POLAR’ VASE 24\/14","price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown_1.png?v=1764793506"},{"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":"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":"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":"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-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":"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":"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":"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"},{"product_id":"carstens-tonnieshof-relief-series-floor-vase-7346-40","title":"CARSTENS TÖNNIESHOF ‘RELIEF’ SERIES FLOOR VASE Nr. 7346\/40","description":"\u003cp\u003eA very tall relief décor floor vase Nr. 7346\/40 from CARSTENS-TÖNNIESHOF. Probably from the late '60s \u003ci\u003eEuropa\u003c\/i\u003e series designed by the celebrated Heinz Siery\u003c\/p\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 \"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\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\u003cp\u003e\u003cb\u003eHEINZ SIERY\u003c\/b\u003e was a true luminary in the world of ceramics in the '50s and '60s. His form designs had 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, Nr. 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. \u003ci\u003eAtelier Syré\u003c\/i\u003e houses a sculpture park that is home to more than 300 of these works.\u003c\/p\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\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\u003eBLUE\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\u003e6 ½\" DIAM. × 15 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":30942223892522,"sku":"CARSTENS RELIEF FLOOR VASE 7346\/40","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230804_120652-01.jpg?v=1692315136"},{"product_id":"luise-duncker-flensberg-studio-vase-14-cm-1","title":"LUISE DUNCKER FLENSBURG STUDIO BUD VASE (14 cm)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA stylish, pint-size, teardrop bud vase hand thrown by West German master art potter Luise Duncker in her Flensburg studio. Hand-decorated with dyed slip in a very typical colorway. Her studio mark is impressed on the base. (NOTE: the width and depth cited in the Details section reference the vase's diameter at its greatest.)\u003cbr\u003e\u003cbr\u003eLUISE DUNCKER is an internationally recognized German studio potter who produced consumer ceramics—vases, bowls, wall plates—in a very individual style. She was born in the Mecklenburg region of northern Germany in 1928. She showed an early talent for drawing and modeling. Unfortunately, securing an education in Germany in the wake of WWII was a hit-and-miss proposal for much of the populace: the high school Duncker attended was shut down when the parents' financial resources ran out. \"Sometimes I regret that I did not graduate high school,\" she has reported, \"but I've always been happy with my job.\" Duncker finally completed training as a potter in the university town of Göttingen in Lower Saxony. In 1961 she passed her master's examination before the Chamber of Skilled Crafts in Flensburg—a village near the German-Danish border where she had settled. She established a good reputation there and, in 1982, could rent a small shop and studio on Rote Straße (Red Street), the town's famous pedestrian shopping mecca. She lived comfortably off sales of her work, thanks in considerable measure to orders received at the biannual trade fairs in Frankfurt.\u003cbr\u003e\u003cbr\u003eNow retired, Duncker remained an institution in Flensburg for many years. In 2015, she moved from her home on Waitzstraße, where she had had a second workshop, into an Assisted Living facility in the deconsecrated Monastery of the Holy Spirit, having abandoned the potter's wheel some years prior. Duncker trained many apprentices, some of whom have become successful potters in their own rights.\u003cbr\u003e\u003cbr\u003eDuncker's hallmarks were a unique scribing technique and a particular slip method that she used to apply dyed clay to leather-hard pieces before moving them to the kiln. The most commonly found Duncker items are brown-on-brown, a particularly popular look in the 1970s. She bristles somewhat at the term \"art,\" but her ceramics and numerous drawings—mainly nudes and portraits—attest to a great talent.\u003cbr\u003eProduction Period – 1970-1979\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\u003eDesigner – \u003cspan\u003e\u003cb\u003eLUISE DUNCKER (b. 1928)\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\u003e14.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e6.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31013430493226,"sku":"LUISE DUNCKER STUDIO (14 cm)","price":145.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20230217_170855_1-01.jpg?v=1676675515"},{"product_id":"sawa-keramik-napoli-vase-234-15","title":"SAWA-KERAMIK ‘NAPOLI’ DÉCOR “KLINKER” VASE Nr. 234\/15","description":"\u003cp\u003eA klinker vase designed in the 1950s by Heinrich-Maria Müller for SAWA-KERAMIK.  The décor is called \u003ci\u003eNapoli\u003c\/i\u003e. (Diam. 11 cm.)\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSAWA-KERAMIK\u003c\/b\u003e was the label under which Sawa-Franz Schwaderlapp GmbH produced fine, artisanal, \"klinker\"-style ceramics beginning in 1951. Franz Schwaderlapp had founded his company as an abrasives factory in Ransbach-Baumbach in central western Germany in 1904, but he soon began producing unglazed flower containers at an associated pottery works. The program had an early success with a self-watering Jardiniere; its extension to high-end ornamental ceramics would happen only with the end of WWII.\u003c\/p\u003e\n\u003cp\u003eSchwaderlapp's uncle, Heinrich-Maria Müller, joined his nephew's firm in 1951 as head designer in its newly established art department. He was responsible for the design of all forms and decorations at SAWA until he retired from the company in 1965. Many of the pots that were produced during this period were hand-turned and decorated by Müller himself.\u003c\/p\u003e\n\u003cp\u003eSAWA offered three basic décor varieties, often noted with a single letter on the bottom of the object:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e'K' for \u003ci\u003ekerbschnitt\u003c\/i\u003e (notch-cut): the manual application of grooves in unbaked clay,\u003c\/li\u003e\n\u003cli\u003e'P' for \u003ci\u003eplastischer kerbschnitt\u003c\/i\u003e (plastic notch-cut): the application of cut-in designs using figural stamps, and\u003c\/li\u003e\n\u003cli\u003e'S' for \u003ci\u003esigilata\u003c\/i\u003e (sealed): the application and burnishing, to a very high sheen, of a thin layer of slip as a top coat.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eOften these methods were very labor-intensive and expensive to implement. The quality of execution was notably high.\u003c\/p\u003e\n\u003cp\u003eIt can be noted here that klinker pottery takes its name from a particular sort of partially-vitrified brick, commonly referred to as “klinker” or “clinker,”—so-called because of the metallic sound produced when klinker bricks are struck together. Like its namesake brick, klinker pottery is hard-fired at unusually high temperatures. Typically hand-thrown, it is also often decorated or burnished by hand—and only partially colored, if at all, using special dyes. These production methods tend to make klinker items very water-resistant, and in most cases, waterproof, even without interior glazing. (Incidentally, being denser than normal bricks, klinkers provide relatively poor insulation. On the other hand, their hard surfaces make them frost-resistant, so they are well-suited for use in facades and as pavers. Early klinkers were simply the accidental byproducts of brickmaking.)\u003c\/p\u003e\n\u003cp\u003eSawa-Franz Schwaderlapp GmbH was family-owned until 1992. It appears to have been transferred to another owner of the same name, as one Heinrich Schwaderlapp was appointed liquidator of the company in 2000. It went out of business in 2004.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHEINRICH-MARIA MÜLLER (1892-1974)\u003c\/b\u003e engaged in multiple professions before WWII, trying his hands at various artistic endeavors and even going to sea for a time. Shortly after the war, he took up work as a furniture salesman, but, in 1951, he settled at his nephew's firm, Sawa-Franz Schwaderlapp GmbH in Ransbach-Baumbach in central western Germany. There he was made head designer of the newly established art ceramics department, producing decorative pottery for the home under the name SAWA-KERAMIK. Müller designed all shapes and décors, modeled templates, and executed numerous pieces entirely by himself. Despite a wide variety of decorative influences, which were generally characterized by elaborate and carefully executed designs and ranged from animal representations of the Far East to abstract surface ornament, he managed to give all of his work a characteristic appearance. He ultimately retired from the company in 1965 at the age of 73, He died nine years later in 1974.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSAWA-KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHEINRICH-MARIA MÜLLER\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\u003eBEIGE, BROWN, TEAL, YELLOW\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\u003e4 ¼\" DIAM. × 5 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31187900989482,"sku":"SAWA KERAMIK 'NAPOLI' 234\/15","price":58.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20230928_175242-01.jpg?v=1695944133"},{"product_id":"dumler-breiden-domino-centerpiece-bowl-640-30","title":"DÜMLER \u0026 BREIDEN ‘DOMINO’ CENTERPIECE BOWL 640\/30","description":"\u003cp\u003eAn ample DÜMLER \u0026amp; BREIDEN centerpiece\/fruit bowl in the yellow, brown, and green colorway of its popular \u003ci\u003eDomino\u003c\/i\u003e décor.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003e Following WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\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\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; BOHO CHIC; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN, GREEN, YELLOW\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\u003e12 ¼\" W × 10 ½\" D × 2\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31226328776746,"sku":"DÜMLER \u0026 BREIDEN 'DOMINO' CENTERPIECE BOWL 640\/30","price":145.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210820_175335-01.jpg?v=1629501181"},{"product_id":"polia-pillin-ball-vase","title":"POLIA PILLIN BALL VASE","description":"\u003cp\u003eA beautiful hand-painted ball vase featuring a typical motif of animals and a woman on a blue ground by renowned Polish-American ceramicist Polia Pillin.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePOLIA PILLIN (1909–1992)\u003c\/b\u003e was a Polish-American painter and potter during the previous century, best known for distinctive, highly crazed, hand-painted ceramics, often produced in collaboration with her husband Bill. She was born Polia Sukonic in Częstochowa, Poland, to a talented family of weavers, potters, and coppersmiths. Sent to live in Chicago at fifteen in 1924—near the tail-end of the mass migration of Eastern European Jews to the US—she worked long hours in the garment industry during the day and took night classes in painting and sculpture at the local Jewish People’s Institute. In 1927 a cousin introduced her to William “Bill” Pillin (1910–1985), a fellow émigré whose family had settled in Chicago after fleeing pogroms in the Ukraine. They were married that year.\u003c\/p\u003e\n\u003cp\u003eBill aspired to become a published poet, and an opportunity arose during the Depression for him to secure a job with the Federal Writers’ Project. The travel involved took him all across the US, including the Southwest. In 1936 he returned with Polia to New Mexico, and they moved onto a sixteen-acre farm outside of Albuquerque. Conditions were harsh, with the closest water source several miles away, but they found the isolation inspiring. After the birth of their son Boris in 1940, however, the Pillins decided to rejoin civilization, and they moved back to Chicago. (During his lifetime, Bill’s verse would appear in over 100 literary reviews, and he would publish nine, well-received collections of work.)\u003c\/p\u003e\n\u003cp\u003eBill found a position in book publishing in Chicago that paid enough to support the family. This allowed Polia to explore painting in watercolor and oil full-time. Her one-woman exhibition at the Chicago Art Institute drew favorable notices and the attention of the \u003ci\u003eSun-Times\u003c\/i\u003e. During the show, Polia became fascinated by the Institute’s pottery display, and, in 1946, she took a six-week course in ceramics at Chicago’s Hull House. She fired pieces in the kilns there until the facility was repurposed for the rehabilitation of returning WWII veterans. Polia then moved her fledgling business to the Pillin apartment, with a wheel and an improvised kiln in the kitchen. During these studio-in-the-kitchen years, she taught Bill how to make pots. Polia never stopped throwing pots herself and always did all of the painting.\u003c\/p\u003e\n\u003cp\u003ePolia's decoration technique involved adding oxides to slip (watery clay) in various intensities and combinations to develop a palette of extraordinary range. With these slurries, she painted her ethereal images of women, cats, horses, and birds on greenware (unfired) pots. Chagall-like in color, her women dance, play instruments, ponder, and ride. Interestingly there are no children, houses, meals, or other signs of ordinary domesticity. Polia double-fired her decorated pots using a transparent glaze to produce a high-gloss finish. The Byzantine flavor of Pillins’ work has often been noted.\u003c\/p\u003e\n\u003cp\u003eThe couple’s endeavors soon outgrew the space, and, in 1948, they moved to Los Angeles. They purchased a modest home with a garage where the Pillin Art Pottery Company was born. At some point in the ’60s, they experimented with using molds to keep up with demand—they were selling pieces as fast as they could make them—but even then, both Polia and Bill continued to throw pots. More than 95% of their work is highly crazed. This should not surprise, as the small studio did not have a team of chemists or the special equipment available to large commercial operations.\u003c\/p\u003e\n\u003cp\u003eAlthough the vast majority of the Pillin Art Pottery was produced in California, there are early examples from the Chicago kitchen studio. These rare pieces will usually be marked with a “46“ or “47“ for the year. Some works can be found with an inscribed “W + P” above the Pillin signature. This was an early indication that Bill had thrown the piece and Polia had decorated it, a practice that later became commonplace. Practically all Pillin Art Pottery is marked with a stylized “Pillin” signature in black. There was some amount of variation and evolution in the signature; close inspection can sometimes help to date pieces. Earlier pieces tend to be thicker in construction. Nearly all Pillin pottery is made from a distinctive red brick-colored clay.\u003c\/p\u003e\n\u003cp\u003ePolia made her last known piece in 1991, a year before her death. No production records were ever kept, and most pieces were unique, so no catalog of her work would ever be complete. The total output of pottery from Polia is hard even to estimate.\u003c\/p\u003e\n\u003cp\u003ePottery from Polia Pillin is held in the collections of the Dallas Museum of Fine Art and the Syracuse Museum of Fine Art. Pillin pieces remain highly collectible with prices starting in the high hundreds and many in the thousands.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003e. . .Humble clay becomes a medium for painting. The limit of which is defined only by the zeal and inspiration of the artist.\u003c\/i\u003e – POLIA PILLIN\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003e“TO A CUSTOMER” by William Pillin\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eIf you dislike our pot, mister,\u003cbr\u003eGo buy from another.\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eBut don't stand there with a turned-up nose,\u003cbr\u003eyou bastard!\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eI labored in shaping the slender amphora\u003cbr\u003eand Polia designed a small alleluia on it.\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eGo now.\u003cbr\u003eYour shadow lingers over the highlights.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePOLIA PILLIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003ePILLIN ART POTTERY\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\u003eBOHO CHIC; MID-CENTURY MODERN; FIGURATIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLUE, GREEN, RED, WHITE\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\u003e4\" DIAM. × 4\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31267969204266,"sku":"POLIA PILLIN BALL VASE","price":675.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/polia-pillin-ball-vase-5161.png?v=1623070077"},{"product_id":"scheurich-keramik-vulkan-ceramos-ball-vase-284-19","title":"SCHEURICH KERAMIK ‘VULKAN’ CERAMOS BALL VASE Nr. 284\/19","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis \"Ceramos\"-form ball vase from SCHEURICH KERAMIK exhibits a fiery and cratered, fat-lava 'Vulkan' glaze décor.  Striking rivulets of red, orange, and black cover a speckled, golden-wheat ground that transitions to a dark brown interior.  Definitely one of the most impressive Ceramos vases we have ever had to offer!\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eSCHEURICH\u003c\/b\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 Alois founded SCHEURICH to continue the production on his own.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eThe celebrated designer Heinz Siery was recruited the following year.  He developed production techniques for SCHEURICH as well as designs.  The overarching manufacturing strategy was to produce a wide array of simple forms that could be decorated in a great variety of glazes.  This resulted in a range of pieces that was both extensive and economically adaptable.  The approach proved altogether successful; through the 1980s SCHEURICH produced more pottery than any other German manufacturer.  Much of it was for export.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eThe earliest SCHEURICH pieces sport discrete colors and simple geometric patterns.  In the late 1960s and the '70s, its glazes were characterized by brown-and-green color schemes, sometimes accented with more vibrant hues—however some décors featured the bold lava and volcanic finishes that are so admired today.  Molded décors inspired by ancient cultures or patterns from nature were also represented.  By the late 1980s, shapes and color scales became plainer and the work less attractive.\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\u003eSCHEURICH\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, ORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, YELLOW\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\u003e19.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e19.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":31284400488490,"sku":"SCHEURICH 'CERAMOS' BALL VASE 284\/19 'VULKAN' DECOR","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/1580139454596.jpg?v=1580145541"},{"product_id":"klinker-no-111-20","title":"SIERSHAHN KERAMIK “KLINKER” VASE Nr. 41\/20","description":"\u003cp\u003eA decorative, '60s-era klinker vase with an abstracted still-life décor from the SIERSHAHNER FEINSTEINZEUGFABRIK factory of West Germany. The pinched form rises to an oval rim from a circular foot. Fine horizontal “scratches” are highlighted by the overall application of a pale, khaki-colored stain. Marked on the base with form Nr. 41\/20 and the designation “Handarbeit.”\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSIERSHAHNER FEINSTEINZEUGFABRIK GmbH\u003c\/b\u003e was established as a division of Übelacker Keramik (aka Ü-Keramik) in 1949. Operations in Siershahn commenced with a total of 16 highly skilled employees, most of whom were ethnic German refugees from the town of Bunzlau, who were expelled from Lower Silesia with its transfer to Poland following Germany's defeat in WWII. A year later the count had risen to 160, along with the demand for the factory's output. First producing fireproof stoneware and tableware in the Bunzlau style, a sister branch was added in nearby Mogendorf in 1952, employing another 50 workers and firing “klinker” ceramics. That same year, SIERSHAHNER wares were presented for the first time at the industrial fair in Hanover; included were vases and other ceramic containers in four basic décor variants: \u003ci\u003eNatural Klinker\u003c\/i\u003e (made of natural brown clay), \u003ci\u003eCapri\u003c\/i\u003e (glazed a matt gray) \u003ci\u003eCuba\u003c\/i\u003e (frosted beige and cloudy yellow), and \u003ci\u003eTirol\u003c\/i\u003e (frosted green and flocked white).\u003c\/p\u003e\n\u003cp\u003eThe entire Übelacker venture remained quite successful through the post-war period up until an overseas investment in the 1980s turned into a financial debacle that left the family struggling with debt. The factories in and around Siershahn had to be closed as a result. Finally, in 1990, the main plant in Ransbach-Baumbach filed for bankruptcy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eKLINKER POTTERY\u003c\/b\u003e takes its name from a particular sort of partially-vitrified brick, commonly referred to as “klinker” or “clinker,”—so-called because of the metallic sound produced when klinker bricks are struck together. Like its namesake brick, klinker pottery is hard-fired at unusually high temperatures. Typically hand-thrown, it is also often decorated or burnished by hand—and only partially colored, if at all, using special dyes. These production methods tend to make klinker items very water-resistant, and in most cases, waterproof, even without interior glazing. (Incidentally, being denser than normal bricks, klinkers provide relatively poor insulation. On the other hand, their hard surfaces make them frost-resistant, so they are well-suited for use in facades and as pavers. Early klinkers were simply the accidental byproducts of brickmaking.)\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\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSIERSHAHNER FEINSTEINZEUGFABRIK\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\u003eABSTRACT; BOHO CHIC; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eEARTHENWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN, WHITE, BABY BLUE, TERRA COTTA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5 ¼\" W × 4\" D × 7 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31368645804074,"sku":"SIERSHAHN KERAMIK No. 41\/20","price":68.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200610_165447-01.jpg?v=1591826911"},{"product_id":"ginger-jar-vase-by-alvino-bagni-for-raymor-italy","title":"GINGER JAR VASE BY ALVINO BAGNI FOR RAYMOR (ITALY)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis ginger jar shaped vase was created by Alvino Bagni for Raymor. It features a drapery decor in shades of crimson, orange, and maroon with accents in silver and black. It was probably produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eALVINO BAGNI\u003c\/strong\u003e was born in 1919 in Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father; as a communist, he had been exiled under Italian fascism. The young Bagni learned the basics of drawing and clay modeling under the tutelage of artist\/sculptor Torello Santini. Bagni's interest in ceramics—a locally important industry—grew, and he found work at Arnaldo Pugi’s furnace in Ponte a Signa. Following WWII, Pugi helped him finance the opening of his own studio, BAGNI CERAMICHE, where several family members including wife Gina were employed. Gina would work along side Bagni throughout his career. 3,500 elephant-head plates bearing the slogan “I like Ike” were manufactured for export during Eisenhower's 1952 US presidential campaign—an early and prophetic commission: the large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eIn the 1950s and '60s Bagni established fundamental collaborations with Bitossi Ceramiche in nearby Montelupo Fiorentino and with the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. These relationships allowed Bagni to open a larger, better-equipped factory where he was able to surround 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 work. He was always experimenting with glazes and produced some truly radical combinations and colors schemes. A case in point is the 'Sea Garden' décor, an unusual mix of turquoise, blue, green, yellow, brown, and black. Bagni often incorporated metal rings or other pieces with his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980 BAGNI CERAMICHE had almost 100 employees and was internationally renowned for high-quality, artistic production and the use of innovative techniques. However, as the world increasingly opened up to global competition, the company found itself in financial straits. Tied 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 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 of 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\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\u003e4.5ʺW × 4.5ʺD × 8.25ʺH\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\u003eItalian\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\u003eAlvino Bagni\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDesigner\u003c\/dt\u003e\n\u003cdd\u003eAlving Bagni\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1970s\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\u003eGood Condition, Original Condition Unaltered\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\u003cdd class=\"tear-sheet-actions js-product-tear-sheet-actions\"\u003e\n\u003ca aria-label=\"Print Tear Sheet\" rel=\"nofollow\" href=\"\/product\/2456580\/tear-sheet\"\u003e\u003cspan class=\"cicon cicon-printer\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca aria-label=\"Download Tear Sheet\" download=\"vintage-vase-by-alvino-bagni.pdf\" rel=\"nofollow\" href=\"\/product\/2456580\/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 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":31639975559210,"sku":"GINGER JAR VASE BY ALVINO BAGNI FOR RAYMOR (ITALY)","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200522_114454-01.jpg?v=1590166711"},{"product_id":"bay-keramik-vase-nr-61-30","title":"BAY KERAMIK VASE Nr. 61\/30","description":"\u003cp\u003eA fiery red, yellow, and black handle vase Nr. 61\/30 from Bay Keramik with a raised volcanic floral or fruit decor, and an eye-catching form.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBAY KERAMIK\u003c\/strong\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\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\u003ctable class=\"properties\" style=\"width: 551px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e\u003ca href=\"https:\/\/www.pamono.com\/makers\/bay-keramik\"\u003eBay Keramik\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003eUnknown\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003eGermany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eStyle\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\" itemprop=\"style\"\u003eVintage, Mid-Century, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\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\" style=\"width: 144px;\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eMaterials\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eColor\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\" itemprop=\"color\"\u003eRed, yellow, black, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eWidth\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e\u003cspan\u003e6.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eDepth\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e\u003cspan\u003e6.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"width: 144px;\"\u003eHeight\u003c\/th\u003e\n\u003ctd style=\"width: 391px;\"\u003e\u003cspan\u003e12.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 151px; top: 677px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31718388465706,"sku":"BAY KERAMIK VASE Nr. 61\/30","price":158.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200609_143026-01.jpg?v=1591731847"},{"product_id":"skk-ceramiche-flower-girl-vase-by-elio-schiavon","title":"‘FLOWER GIRL’ VASE BY ELIO SCHIAVON FOR ERHART SKK","description":"\u003cp\u003eA lovely hand painted vase in the form of a woman with flowers designed by Gunter Erhart and Elio Schiavon, and marked on the bottom with SKK HANDGEMALT (\u003cspan\u003eSüdtiroler  Kunstkeramik Handmade) \u003c\/span\u003eand the initials of the artists at the Schiavon factory who hand painted it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eELIO SCHIAVON\u003c\/strong\u003e was born in Arzergrande in the province of Padua in 1925.  He completed his studies at the School of Ceramic Art in Nove as a pupil of Andrea Parini.  When he moved with his family to Bassano del Grappa, he worked as an apprentice in the ceramic workshop of Luigi Zortea and completed his schooling at the Academy of Venice where he was a student of the architect Giorgio Wenter Marini.  In the early 1950s he married Linda Metta, who soon became a close collaborator, and he also began to distinguish himself in the competitions and exhibitions in which he participated - including the Venetian Biennale – with his own ceramic creations.  With the assistance of his wife, Schiavon started his own furnace in Padua in 1954, and soon “Schiavon Ceramiche” was producing a well-articulated collection of commercial-style artefacts, alongside works with an artistic vocation, mostly majolica inspired by an archaic, festive and dreamy expressionism, with a vibrant chromatism that gave the works a note of singular originality.  The factory stands out for the high quality of its products and soon receives important public and private commissions.  He produced numerous creations for architecture and for so called “street furniture” of the sort found in urban landscapes - cladding panels and sculptural compositions for clients such as Ravenna, Hydroelectric Power Station; Mestre, Hotel Majestic; Capri, Duomo and the villa of the writer Graham Greene.\u003c\/p\u003e\n\u003cp\u003eIn the wake of the successful ceramics training experiment carried out by the ceramist Neera Gatti in Venice where he started the, “Bottega Scuola d'Arte Ceramica dei Frari \" (Workshop of the Frari Ceramic Art School), in which numerous important artists and craftsmen were trained over the course of almost a decade of activity, Schiavon decided to set up a workshop-school joined to his own workshop and laboratory.  This also became a reference point for many young generations of artists.  The workshop activities were ultimately transferred to Abano Terme in 1964.\u003c\/p\u003e\n\u003cp\u003eAt the end of the 1980s Schiavon handed the factory over to his son Luca, but he continued his creative and didactic activities until the last few years of his life.  Elio Schiavon died in Tonadico, in the province of Pordenone, in 2004.  The workshop is still active today thanks to Luca.\u003c\/p\u003e\n\u003cp\u003eA NOTE ON IDENTIFICATION:  Most of the items produced at the Schaivon Ceramiche workshop are simply signed ‘Schaivon’, sometimes with a cross hatch symbol, but many items are also found with the markings ‘S.E.’, ‘SKK’ (Südtiroler  Kunstkeramik) or ‘Erhart’ along with the ‘Schiavon’ name.  These items are also produced by Schiavon, but in collaboration with his very close friend, Gunther Erhart.  The two men worked closely together in collaboration to create many items produced in the Schiavon furnaces.\u003c\/p\u003e\n\u003cp\u003eDesigns marked ‘Erhart’, 'SKK', or both, along with the Schiavon Signature were designed by Gunter Erhart, but produced by both in collaboration. Since Erhart was not a trained potter, he needed Schiavon to help him realize his designs.  Those will usually have both signatures, or S.E. which is also the mark of Elio Schiavon, or sometimes just SKK HANDGEMALT (handmade).\u003c\/p\u003e\n\u003cp\u003eSchiavon was the one throwing the forms, while both men painted them along with some other employed painters in the studio, some of whom had their own signature marks which can often be found along with the other markings on the bottom of the item. All the pieces are handmade and unique, and all are products of the Schiavon Studio.\u003c\/p\u003e\n\u003cp\u003eSchiavon was adept at understanding and interpreting Erhart’s designs immediately, but it was a reciprocal inspiration, so you can't attribute the pieces exactly to one of them when you have both signatures on one piece.  Those are very much a collaboration.\u003c\/p\u003e\n\u003cp\u003eIt must also be noted that, contrary to some past presumptions, Erhart is not the German translation of Elio, but always refers to Gunther Erhart.\u003c\/p\u003e\n\u003cp\u003eFrom 1970 onwards they had letters as a code system for the year of production, but the system has not yet been explained sufficiently to enable collectors to date their objects.  Any numbers found are always form numbers and sometimes the size of the item in centimeters.\u003c\/p\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eGUNTER ERHART\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eELIO SCHIAVON\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\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, Italian Modern, Hand-Crafted, Modernist\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\"\u003eTan, cyan, goldenrod, yellow, plum, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e4.0 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\u003e4.0 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\u003e16.5 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":31787521114154,"sku":"ELIO SCHIAVON FOR SKK","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200707_115200-01.jpg?v=1594141757"},{"product_id":"early-60s-jasba-keramik-handle-vase-nr-1207-25","title":"EARLY ’60s JASBA KERAMIK PITCHER VASE Nr. 1207\/25","description":"\u003cp\u003eA tall and colorful, early '60s pitcher-form vase from JASBA KERAMIK. A dark brown undercoat is topped with a light gray glaze and a wax-resist pattern on the belly divided into colorful squares of yellow, orange, blue, and gray. It is accented top to bottom with brown, horizontal pinstripes.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJASBA KERAMIK\u003c\/b\u003e was founded by Jakob Schwaderlapp in 1926, in the small, Rheinland community of Baumbach (now incorporated into the town of Ransbach-Baumbach) in the heart of the \u003ci\u003eKannenbäckerland\u003c\/i\u003e. The Kannenbäckerland—or potters' land...more literally, jug-bakers' land—is the site of Europe's largest clay deposit and home to a centuries-old tradition of ceramics manufacture. The word \"JASBA\" is derived from the names of its founder and the town where it was located—Ja(kob) S(chwaderlapp), Ba(umbach). JASBA initially produced earthenware central-heating systems, but as early as 1928, a separate factory was built to accommodate an expansion into terracotta domestic wares—including vases, fruit bowls, and baking dusters. In 1937 glazed ceramics were added to the program.\u003c\/p\u003e\n\u003cp\u003eA major fire interrupted development in 1938, but the factory was quickly rebuilt, and the new buildings were equipped with the latest technology. Unfortunately this was just in time for the outbreak of WWII. For its duration, JASBA was mostly restricted to contract work for the Wehrmacht (the united armed forces of Nazi Germany), but the production of porcelain, stoneware, and ornamental ceramics quickly resumed when the war ended. A steep upward trend followed in the post-war period; the number of employees rose six-fold from eighty in 1948 to 480 by 1955. JASBA grew to be the largest ceramics enterprise in the region, and when the troubled Porzellanfabrik Niederrhein GmbH in Rees became available in 1957, Schwaderlapp made the decision to buy it and convert it to the production of industrial tiles and mosaic wall panels for the building trade. This decision would later prove to be one of his best.\u003c\/p\u003e\n\u003cp\u003eMeanwhile, the range of ornamental ceramics produced at the parent plant continued to expand. The program was limited at first to conventional forms and décors (glaze and pattern combinations), but the introduction of modern forms began cautiously in 1955. The décor \u003ci\u003eJaspatina\u003c\/i\u003e was introduced that year, and a year later the very popular \"crawl\" glaze \u003ci\u003eCortina\u003c\/i\u003e was made available. (The latter proved very successful and remained in the production in several color variants until the early 1960s.) At the beginning of 1957, following her stint with Ruscha Keramik, the ceramicist and décor designer Cilli Wörsdörfer joined JASBA. Her colorful, abstract surfaces transformed the previously conventional look of JASBA's ornamental ceramics. She struck a special chord with her décors \u003ci\u003eTuscany\u003c\/i\u003e and \u003ci\u003eVerona\u003c\/i\u003e, and followed them up the following year with \u003ci\u003eGhana\u003c\/i\u003e and \u003ci\u003eKaro\u003c\/i\u003e, all of which are still much sought-after by collectors of JASBA's '50s-era output.\u003c\/p\u003e\n\u003cp\u003eJASBA KERAMIK's immense repertoire was characterized by a great diversity. In 1958 alone, 40 different vase forms were offered in more than 80 sizes and almost 30 different décor variants. In a bid to reach a higher-end market, Schwaderlapp founded JASBA's well-heeled sister company, Ceramano Kunstkeramik W.J. Schwaderlapp KG, in 1959. Ceramano would become a powerhouse in its own right, with the production of high-end, experimental pieces intended to mimic the work of studio potters and to be sold in better department stores and speciality shops throughout Europe.\u003c\/p\u003e\n\u003cp\u003eWhen she married in 1960, Cilli Wörsdörfer ended her ceramic and artistic activity, and handed over her position at JASBA to Christiane Reuter, whose wide-ranging 1962 series, \u003ci\u003eBunte Welt der Keramik\u003c\/i\u003e (Colorful World of Ceramics), introduced cutting-edge stylistic tendencies and brightly colored glazes. JASBA did not produce many \"lava\" or otherwise highly textured glazes, but they were especially adventurous with shapes and molded patterns. At the end of the 1962 the more typical shapes and decors of the previous decades were retired. Production of vases and other decorative objects began to fall off sharply in the early '70s; by 1981 the focus had shifted exclusively to the company's very successful line of architectural tiles. Jasba Mosaik is still in business today.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eJASBA 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\u003eABSTRACT; BOHO CHIC; 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, ORANGE, SKY BLUE, YELLOW\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\u003e5 ½\" W × 6\" D × 1\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31849393782826,"sku":"60S JASBA PITCHER VASE Nr. 1207\/25","price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/early-60s-jasba-keramik-pitcher-vase-nr-120725-4065.jpg?v=1630175470"},{"product_id":"scheurich-keramik-vase-nr-225-40","title":"SCHEURICH KERAMIK VASE Nr. 225\/40","description":"\u003cp\u003eA tall Scheurich Keramik vase with a frothy matt white all over glaze and a glossy apple green band with a matt black wave decor.  The interior is glossy black.\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 Alois founded SCHEURICH to continue the production on his own.\u003c\/p\u003e\n\u003cp\u003eThe celebrated designer Heinz Siery was recruited the following year.  He developed production techniques for SCHEURICH as well as designs.  The overarching manufacturing strategy was to produce a wide array of simple forms that could be decorated in a great variety of glazes.  This resulted in a range of pieces that was both extensive and economically adaptable.  The approach proved altogether successful; through the 1980s SCHEURICH produced more pottery than any other German manufacturer.  Much of it was for export.\u003c\/p\u003e\n\u003cp\u003eThe earliest SCHEURICH pieces sport discrete colors and simple geometric patterns.  In the late 1960s and the '70s, its glazes were characterized by brown-and-green color schemes, sometimes accented with more vibrant hues—however some décors featured the bold lava and volcanic finishes that are so admired today.  Molded décors inspired by ancient cultures or patterns from nature were also represented.  By the late 1980s, shapes and color scales became plainer and the work less attractive.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eScheurich\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\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, Minimalist, Modernist\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\"\u003eWhite, chartreuse, black\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.5 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\u003e15.5 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":31853219250218,"sku":"SCHEURICH KERAMIK VASE Nr. 225\/40","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200730_154457-01-01.jpg?v=1596142834"},{"product_id":"red-italian-como-decor-pitcher-vase-handmade","title":"RED ITALIAN ‘COMO’ DÉCOR PITCHER VASE (HANDMADE)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA wonderful bright red pitcher style vase with a  dramatically flared lip in the 'Como' decor from an unknown Italian maker.  This decor is commonly referred to as 'Strawberry' and was once attributed to Fratelli Fanciullacci, but there is no hard proof as yet that this is true.  The decor was also popular with some German Manufacturers such as Dümler \u0026amp; Breiden who produced items with this decor in their 'Studio Series.\"  The ones produced in Italy are generally of two distinct types - one with a very bright red glaze and gold markings on the base and another with a darker red glaze and incised markings, but there are other variations as well with other base markings and in different colors.  The discovery of an italian pottery catalog has given us the decor name of 'Como', but still no clue about who the maker could be.  They all appear to be hand thrown and finished by hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003e\u003ca href=\"https:\/\/www.pamono.com\/makers\/fratelli-fanciullacci\"\u003eFratelli Fanciullacci\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 34px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 34px;\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd style=\"height: 34px;\"\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 34px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 34px;\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd style=\"height: 34px;\"\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 34px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 34px;\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd style=\"height: 34px;\"\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 52px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 52px;\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd style=\"height: 52px;\"\u003eThis piece is attributed to the above-mentioned designer\/maker. It has no attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eStyle\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\" itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 34px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 34px;\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd style=\"height: 34px;\"\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 style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eMaterials\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eColor\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\" itemprop=\"color\"\u003eBlack, red\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\" style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eWidth\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003e\u003cspan\u003e4.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\" style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eDepth\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003e\u003cspan\u003e4.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 17px;\"\u003e\n\u003cth scope=\"row\" style=\"height: 17px;\"\u003eHeight\u003c\/th\u003e\n\u003ctd style=\"height: 17px;\"\u003e\u003cspan\u003e5.5 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":31953999265834,"sku":"ITALIAN 'COMO' DECOR PITCHER VASE","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200908_124154-01.jpg?v=1599590520"},{"product_id":"sawa-keramik-napoli-decor-klinker-vase","title":"SAWA-KERAMIK ‘NAPOLI’ DÉCOR “KLINKER” VASE Nr. 207\/20","description":"\u003cp\u003eA very nice example of a rolled-lip bouquet vase designed by Heinrich-Maria Müller for SAWA-KERAMIK and decorated with his \u003ci\u003eNapoli\u003c\/i\u003e décor. Produced entirely by hand, it is marked by hand on the base with the model and size numbers.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSAWA-KERAMIK\u003c\/b\u003e was the label under which Sawa-Franz Schwaderlapp GmbH produced fine, artisanal, “klinker”-style ceramics beginning in 1951. Franz Schwaderlapp had founded his company as an abrasives factory in Ransbach-Baumbach in central western Germany in 1904, but he soon began producing unglazed flower containers at an associated pottery works. The program had an early success with a self-watering Jardiniere; its extension to high-end ornamental ceramics would happen only with the end of WWII.\u003c\/p\u003e\n\u003cp\u003eSchwaderlapp's uncle, Heinrich-Maria Müller, joined his nephew's firm in 1951 as head designer in its newly established art department. He was responsible for the design of all forms and decorations at SAWA until he retired from the company in 1965. Many of the pots that were produced during this period were hand-turned and decorated by Müller himself.\u003c\/p\u003e\n\u003cp\u003eSAWA offered three basic décor varieties, often noted with a single letter on the bottom of the object:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e'K' for \u003ci\u003ekerbschnitt\u003c\/i\u003e (notch-cut): the manual application of grooves in unbaked clay,\u003c\/li\u003e\n\u003cli\u003e'P' for \u003ci\u003eplastischer kerbschnitt\u003c\/i\u003e (plastic notch-cut): the application of cut-in designs using figural stamps, and\u003c\/li\u003e\n\u003cli\u003e'S' for \u003ci\u003esigilata\u003c\/i\u003e (sealed): the application and burnishing, to a very high sheen, of a thin layer of slip as a top coat.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eOften these methods were very labor-intensive and expensive to implement. The quality of execution was consistently high.\u003c\/p\u003e\n\u003cp\u003eIt can be noted here that klinker pottery takes its name from a particular sort of partially-vitrified brick, commonly referred to as “klinker” or “clinker,”—so-called because of the metallic sound produced when klinker bricks are struck together. Like its namesake brick, klinker pottery is hard-fired at unusually high temperatures. Typically hand-thrown, it is also often decorated or burnished by hand—and only partially colored, if at all, using special dyes. These production methods tend to make klinker items very water-resistant, and in most cases, waterproof, even without interior glazing. (Incidentally, being denser than normal bricks, klinkers provide relatively poor insulation. On the other hand, their hard surfaces make them frost-resistant, so they are well-suited for use in facades and as pavers. Early klinkers were simply the accidental byproducts of brickmaking.)\u003c\/p\u003e\n\u003cp\u003eSawa-Franz Schwaderlapp GmbH was family-owned until 1992. It appears to have been transferred to another owner of the same name, as one Heinrich Schwaderlapp was appointed liquidator of the company in 2000. It went out of business in 2004.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHEINRICH-MARIA MÜLLER (1892-1974)\u003c\/b\u003e engaged in multiple professions before WWII, trying his hands at various artistic endeavors and even going to sea for a time. Shortly after the war, he took up work as a furniture salesman, but, in 1951, he settled at his nephew's firm, Sawa-Franz Schwaderlapp GmbH in Ransbach-Baumbach in central western Germany. There he was made head designer of the newly established art ceramics department, producing decorative pottery for the home under the name SAWA-KERAMIK. Müller designed all shapes and décors, modeled templates, and executed numerous pieces entirely by himself. Despite a wide variety of decorative influences, which were generally characterized by elaborate and carefully executed designs and ranged from animal representations of the Far East to abstract surface ornament, he managed to give all of his work a characteristic appearance. He ultimately retired from the company in 1965 at the age of 73, He died nine years later in 1974.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSAWA-KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHEINRICH-MARIA MÜLLER\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; BOHO CHIC; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eKHAKI, TEAL, TERRA COTTA, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. May show slight signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" DIAM. × 7 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31961092849706,"sku":"SAWA 'NAPOLI' DECOR KLINKER Nr 207\/20","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200910_142726-01.jpg?v=1599766664"},{"product_id":"textured-blue-and-white-hutschenreuther-cylinder-vase","title":"TEXTURED BLUE AND WHITE HUTSCHENREUTHER VASE","description":"\u003cp\u003eA beautiful HUTSCHENREUTHER color-gradient cylinder vase with a highly textured surface and a glossy finish of dark blue fading to white. From the firm's 'Op-Art' period.\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.)A very large, flared '70s Op-Art floor vase with a basket weave relief pattern from PORZELLANFABRIKEN LORENZ HUTSCHENREUTHER AG SELB, Germany. Hutschenreuther is the family name of a German father and son who established competing porcelain manufactories in north-east Bavaria in the 19th century. C.M. HUTSCHENREUTHER AG 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. After 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. To 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. PORZELLANFABRIKEN LORENZ HUTSCHENREUTHER AG SELB (aka LHS) 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 Racine (1900), Richelieu (1929), Blue Onion (1930), and Maple Leaf (1940). LHS 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. By 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. In 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\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBOHO CHIC; MID-CENTURY MODERN; MINIMALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePORCELAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eROYAL BLUE, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3 ¾\" DIAM. × 9 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31965245014058,"sku":"HUTSCHENREUTHER COLOR GRADIENT CYLINDER VASE","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200912_135442-01-01.jpg?v=1599938226"},{"product_id":"ruscha-keramik-costa-decor-jug-vase-nr-340","title":"RUSCHA KERAMIK ‘COSTA’ DÉCOR JUG VASE Nr. 340","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA large glossy red and volcanic black 'Costa' decor vase designed by Otto Gerharz (decor) and Kurt Tschörner (form) for Ruscha Keramik. Mid 1960s.\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;\"\u003eRUSCHA KERAMIK \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\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\/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;\"\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\/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;\"\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\/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;\"\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\/span\u003e\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eRuscha\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\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003eUnknown\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, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\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\"\u003eRed, black\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e8.5 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\u003e8.5 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\u003e9.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e\u003c\/th\u003e\n\u003ctd\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":32065048182826,"sku":"RUSCHA KERAMIK 'COSTA' DECOR VASE Nr. 340","price":140.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201012_174341-01.jpg?v=1602544304"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/wall-944263_1920.jpg?v=1660337836","url":"https:\/\/modernredux.myshopify.com\/collections\/pottery.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}