STiLODROM Furniture

midcentury SCHRAMBERG MAIOLICA Barbotine FISH TUREEN TERRINE handpainted Design Period 1955 to 1965 Production Period around 1960 Country of Manufacture Germany H / height: 11cm both ~ Gew. / weight: 2950grs DM / diameter casserole : 30 cm x 15cm x 11cm high ~ 19cm with its lid MARKED: Schramberger Majolikafabrik 5624 :-: fair condition with some very small chips (see photos) - Considering the sensitive material I would even say it is in good condition -- let´s call it charming vintage :-: To ensure a safe arrival, this item is packed in super-safe packaging. (up to 10 Kg) SMF SCHRAMBERG was originally founded in 1820 as Faist'sche Steingutfabrik by the stoneware expert Isidor Faist on the site of the abandoned Schramberg castle. By 1829, Faist and his factory had gained such a good reputation that Baron Ferdinand von Uechtritz became his partner under the new name of Steingut- und Majolikafabrik Uechtritz & Faist. With the Baron's financial support, the partners were able to build a new factory behind the castle, which dramatically increased production. By the 1860s, the company had a permanent workforce of 100 and an impressive number of almost 6,000 homeworkers (decorators, etc.), mainly children and women. From 1882, Faist began taking orders from Villeroy & Boch, who eventually bought the Schramberg pottery in 1883 and continued to operate it as a V&B subsidiary until the early 20th century. In 1911, several of the factory buildings had to be demolished to make way for the local railway, which drastically reduced production and caused Villeroy & Boch to lose interest in the site, which they sold to brothers Moritz and Leopold Meyer in 1912. It was the Meyers who introduced the "SMF" trademark and eventually gave the company its permanent name, Schramberger Majolika-Fabrik. In 1918 the company was transformed from a sole proprietorship to a limited liability company and the transformation was complete. The Meyer brothers were always on the lookout for new talent, and many famous artists joined the factory or contributed designs in the years that followed. Their decorative ceramics, stylized in vibrant colours, attracted much attention in the 1920s. Eva Stricker-Zeisel was a prominent designer for the company from 1928 to 1930. Her designs were strongly influenced by the Bauhaus movement and her modern form and decoration designs gave an avant-garde look to part of the production programme. As well as designing the shapes, Eva Zeisel also supplied the intended decorations for the pieces, although the decoration department often adapted her decorations to shapes for which they were not intended. They would even use them on shapes other than those designed by Zeisel and apply decors not designed by her to her shapes. This particularly happened with the very popular 'Mondrian' pattern, which often appeared on non-Zeisel shapes. The factory continued to produce Zeisel's designs for some time after her departure, but she sometimes felt that the designs were not exactly as she had intended. With the economic crisis of the early 1930s, the focus of production shifted to tableware and utilitarian ceramics, until the Nazis forced Moritz and Leopold Meyer to sell the factory in 1938 as part of the forced aryanisation of the German state. Both emigrated to England with their families during the war, but in 1949 Peter Meyer...

unique turquoise burnished solid brass WRITING DESK SET Vienna Austria 1950's processed to the highest quality Production Period around 1950 :-: in good condition :-: maximum ...

Louis Kalff table lamp Mid century Beautifully preserved Crow's foot table lamp from the 1950s, designed by Louis Kalff for Philips. Classic textured lacquer fully functional and usable. E27 socket - can be used both with 220/240 V or 110/150 V bulbs Louis Christiaan Kalff (14 November 1897 in Amsterdam - 16 September 1976 in Waalre) was a Dutch designer. After graduating from secondary school, Kalff studied at the Quellinus School in Amsterdam (now the Gerrit Rietveld Academie) and at the Technical University of Delft. Between 1925 and 1926, together with Jan Hanrath, Kalff designed the building of the Delft Student Rowing Association (D.S.R.V. Laga) in the style of the Amsterdam School. In 1925, Kalff joined the Philips advertising department. Under his direction, the Lighting Advice Bureau (LIBU) was established in 1929. He designed the Philips logo and participated in the World Expositions in Barcelona, Antwerp, Brussels and Paris. He also designed posters and printed advertisements for the Holland-America Line, the Calvé company, the seaside resort of Scheveningen and Holland Radio. He also designed book covers. Kalff also worked for Philips as an architect on buildings such as the Dr A.F. Philips Observatory in Eindhoven (1937), the Diamond Court in Valkenswaard (1948) and several country houses for Philips directors in Eindhoven and Waalre. Kalff continued to work for Philips as a product designer after the Second World War. For the Philips pavilion...

Beautiful & quite unique Art Nouveau STEIN both colours and pattern are typical Jugendstil pewter lid Manufactured by WICK WERKE AG Production Period aro...

Set of 4 antique pewter measuring jugs Manufactured in Northern Italy from North of Bergamo up to the Valtellina Region Production Period aro...

SOLID HEAVY DUTY MADE FOR THE ETERNITY Six mid-century stools designed and made in Vienna around 1950 by J. A. Talos, Vienna XII. Bezirk , Dörfelstraße 6-8 . The architectually sig...

Traditional salt glazed pottery box Manufactured in Germany around 1925 by WEKARA Wekara:: W ( for WE German pronounciation) for Wilhelm E. K for Krumeich A for aus (from) RA fo...

Traditional French Plate / Bowl (can be perfectly fitted as a wall plate - using handle to hang) Manufactured in France around 1900 Production Period around 1900 marked: "3" ...

stunning (Ø 28cm) and heavy (1362grs) RUSCHA ART Wall Plate History of the company RUSCHA KERAMIK was originally founded in 1905 by Georg Schardt and was originally called Klein...

Huge (Ø 33cm) and heavy (1521grs) Traditional South Tyrolian Wall Plate Manufactured by THUN Bozen History of the company The company was founded in 1950 by Count Otmar and Cou...

A huge pewter bowl Manufactured most probably in Alsace Production Period around 1780 Country of Manufacture Germany H / height: 5.5cm ~ Gew. / weight: 1391 grs DM / diameter...

2 pewter plates (Wedding - Anniversary - Birthday - Birth) Manufacturer G. Hugel Bavaria Zinngießerei / Pewterer Known dates: 1870's Production Period 1871-1874 Country of Manufact...

SET of 2 Charles Voltz (1923-1997) moved to Vallauris France in 1950, where he had a studio for many years. His ceramics was in the typical exuberant mid-century Vallauris style with colourful and often highly textured or patterned glazes. Vallauris is an area in the Cote d’Azur region of south eastern France and has a long history of Artistic and Ceramics traditions, but is was in the 1950s when Vallauris experienced a new golden age after Picasso went to live in and influence the Arts & Crafts of Vallauris in the late 1940s (and where he stayed until 1955) Picasso, along with Roger Capron were significant contributors to the profile of Ceramics in Vallauris, together other names such as Roger Collet, Gilbert Portanier, Jean Derval and Charles Voltz. Design Period 1965 to 1975 Production Period late 1960s Country of Manufacture France H / height: 11cm both ~ Gew. / weight: 2950grs both DM / diameter casserole : 13 cm ~ DM / diameter jug: 8 cm MARKED: C. Voltz Vallauris...

Huge pewter bottle Manufactured most probably in Southern Germany Production Period around 1880 Country of Manufacture Germany H / height: 522cm ~ Gew. / weight: 1275 grs 9cm x 1...

This rather straight, very heavy solid oak Viennese baroque folding desk has been carefully restored to its original condition - no replacements! Even the 2 main keys are still there...

solid built oak Jugendstil CHAIR made in Rabenau / Saxonia upholstered with care - fitted with hand embroidered jute fabric Rabenau's chairmaking tradition is almost 400 years ol...

STUDIO KERAMIK FLOOR VASE Atelier Herta Huber Roethe Landshut 1950s marked "HR" Manufacturer ATELIER HUBER ROETHE Design Period 1950 to 1959 Production Period 1950 to 1959 Count...

""~!~** STRAIGHT **~!~** Baroque round-lidded chest, also known as a dome top chest, solid oak, with heavy fittings, around 1750. The chest is in a "refined for the home condition...

Anders Pehrson for Ateljé Lyktan FLOOR LAMP "OLYMPIA" set of five floor lamps recommended with 2 E14 bulbs 25W and 40W as the lamp can be switched in...

just beautiful SET of Sofa & 2 Wingback Armchairs by Prof. Karl Nothelfer - Designed in 1957 maker: Schörle & Gölz in Stuttgart - Bad Cannstatt solid Cherry Wood new upholstery and fabrics in 1998 according to last owner ( since then just in use for 2 years so upholstery is perfect ! ) Seatrests can be removed - and fixed by clips on belts - high class - measurements: easy chair is 70cm wide ~ sofa is 178cm wide both: seating height 40cm ~ seating depth: 57cm condition - all firm and in very good condition - no damages furniture have fully been accurately cleaned :: - 3 steps: A: air pistol - B: industrial hoover - C: latest Kärcher "wash&hoover" technology - woods have been polished several times note: please ask for shipping quote by sending us your postcode/destination Prof. Karl Nothelfer * 14 June 1900 ~~ + 20 May 1980 Since the beginning of the 15th century, the Nothelfer family of carpenters has been continuously resident in the former town of Überlingen without interruption. Every carpenter at that time mastered all the possibilities of woodworking: so did the Nothelfer. They could carpenter, even carve altars and figures, and set them in gold, silver and paint. (churches in Owingen and Hödingen]. Some family members lived and worked and worked in Hedingen or Hödingen,like today the jubilarian Karl Nothelfer (this in 1975). His father, Karl Anton Nothelfer, as the eldest of seven siblings, was able to take over his father's carpentry business in Überlingen. Karl Anton Nothelfer, the eldest of seven siblings, was unable to take over his father's carpentry business in Überlingen. He instead moved to the industrial town of Singen with his young wife Rosalie, née Hanner, from the from Hohenzollern in 1896 and moved to the former Poststraße and founded his own carpenter's workshop. He had a highsense of quality and form and was already a member of the German Werkbund before 1914. Karl Nothelfer and his three siblings grew up in such air. After attending school and the secondary school in Singen, the young Karl learned the carpenter's trade in his father's workshop then moved on to the Badische Landes-Kunstschule in Karlsruhe, where he studied architecture. At that time the well-known furniture professor also worked there Fritz Spannagel, born in Freiburg in 1891, who settled in 1938 at Ittendorf Castle near Meers- burg (died 1957). In 1928, the gifted young architect received a teaching assignment at the at the Karlsruhe School of Art, but followed his teacher Spannagel to Berlin in the same year. Berlin. Here he worked from 1928-1945 as a teacher - appointed professor in 1931 - at the Berlin Tischler-Schule, the later Bauschule für Raumgestaltung. The furniture he created in Berlin became internationally known through many exhibitions and lectures. nationally known and influential. His furniture creations ushered in a new era in German and a new era in German and European furniture design. At the world exhibition in Paris 1937 Prof. Nothelfer was awarded the Golden Medal for his work in the furniture sector. for his work in the furniture sector. A first summary and balance of his work on furniture is given in his standard work 1942 published standard work "Das Sitzmöbel", the first compendium of its kind in the world. world. In 1950 he published his second work "Furniture". Both books and a series of brochures were published by Verlag Otto Maier, Ravensburg. Karl Nothelfer continued to work intensively on the design of seating furniture in the years after 1945. In 1950 he succeeded in the important invention of the two-legged skid-base chair, which has been orthopedically - anatomically tested thousands of times - has become accepted all over the world today. Even the most distinguished American furniture companies such as Miller or Knoll-International use the skid as the main theme for desks and chairs. At the same time, N. had a groundbreaking in the redesign of German school furniture and seating for industry. industry. He succeeded in adapting his furniture forms, which originated in wood and handicraft, to the modern technical modern technical possibilities of the industry. He thus became the great refor- of schoolroom furnishings. The architect Nothelfer thinks about himself, that he made his main contribution in the field of seating furniture, although this was not was not really his profession. After the war, Prof. Nothelfer, like so many others, had to start all over again. He settled settled in his home town of Lake Constance in Hödingen in 1945 as a freelance architect and was and was involved in all areas of construction in the years after the war. As early as 1935, he had given many the example of American prefabricated buildings and recommended serial house and recommended it at a time when no one in Germany was even thinking about mass production. Now he developed he developed several types of mass-produced houses, which were manufactured in Baiersbronn. of which more than 800 houses were built in France alone (types Paris, Provence, Normandie). were built. At that time [1946], as part of the reparations in Strasbourg, there was an exhibition of houses with Swedish, Danish, and French designs. with Swedish, Danish, Finnish, English and German houses, where the French occupation for which 6 different types were sent from the French occupation zone, the Nothelfer's house type was considered the top of this exhibition. Karl Nothelfer was also involved in the development of chipboard. In 1946, together with others in Munich, he founded the first magazine "Bauen und Wohnen" ("Building and Living") after the war and remained its co-editor for many years. co-editor of this magazine for many years. By presenting his own work, he has here interpreted what the essence of the magazine wanted to be: Building, in order to live in it, in order to live as a human being and humanly in the built. Karl Nothelfer planned his houses furniture ground plan, from the need for living. In 1948 he was appointed honorary senator of the State Building school in Holzminden. Karl Nothelfer did not build much in Singen. The first post-war house was Haus Fahr on the slope of the Hohentwiel (Domäne); the building material came from a demolished log house that a French officer had built for himself on the Schie- nerberg. nerberg. In 1952, he also built the administration building of the aluminum rolling mill in Singen. rolling mills in Singen, with relief and wall painting by C. G. Becker. In Überlingen he built In Überlingen he built, among others, the Buchinger Sanatorium, the Riese+ Hähnel radio house and various reconstructions in the old town: Haus Kitt with the Glockenspiel, the Haus mit dem Bacchus in the Überlingen village, the Dolphin Fountain in Hödingen (1975). Probably the most beautiful Haus Nothelfers, the Haus Himmelheber, stands in Baiersbronn-Tonbach. On the airfield Mengen, Nothhelfer built the casino building with the 30 square meter faience painting Ikarus by C. G. Becker. In 1954 he founded a second office with architect Hans Schwingen in Düsseldorf. Office, which primarily fertilized the housing construction, true to the motto:from the inside to planning from the outside. The Minister of Housing awarded a prize to the best social housing in North Rhine- Westphalia; it was from the Nothelfer+Schwingen studio in Düsseldorf. Also the idea of new idea of home ownership was also promoted by Nothelfer+Schwingen. promoted by Nothelfer+Schwingen. On the occasion of the red jubilee of the law about condominium ownership Nothelfer gave a lecture in Essen in 1961 on condominium ownership in Europe (published as a brochure). published as a brochure]. From Düsseldorf, among many others, in the silk city...

""~!~** STRAIGHT **~!~** This classic art deco sofa was produced in the Dresden area in the 1930s Its shape is quite unique and very well proportioned Its spring upholstery is still strong and fully undamaged All wooden parts have been demounted sanded and stained - then treated (sprayed) with a transparent Acrylic Silk Matt Paint finish and professionally remounted. The sofa has fully been accurately cleaned :: :: 3 steps: A: air pistol...

This set of two West German lounge chairs is in very good condition It was made in the mid 1960s The armrests have been professionally restored (sanded - stained and lacquered tw...

A beautiful heavy porcelain Vase Björn Wiinblad Rosenthal Studio Linie Model No.: 3512/28 in mint condition ! definetely collectionable! Manufacturer Rosenthal Design Period 1970s Production Period 1972 to 1976 Country of Manufacture IWestern Germany Maße / mearurements 25,7 cm x 11,5 cm ~ H / height: 28 cm ~ Gew. / weight: 2450g Öffnung innen / inner rim : 7.2 cm x 21.8 cm Rosenthal GmbH is a German manufacturer of porcelain products and other household goods. The original firm was founded in 1879 in Selb, Bavaria. Since 2009, Rosenthal has been owned by the Italian company Sambonet Paderno Industrie (Arcturus Group). History Rosenthal was originally founded in 1879 as a family business. The founder, Philipp Rosenthal, moved his porcelain painting from Werl in North Rhine-Westphalia to Selb in Bavaria, where he industrialized in the castle Erkersreuth with his painting workshop. In 1897, Philipp Rosenthal founded the company Bauer, Rosenthal & Co. in Kronach, as well as Philipp Rosenthal & Co. AG. In 1908, Rosenthal bought the porcelain manufacturer Thomas in Marktredwitz, and the porcelain company Zeidler & Co. in 1917. In 1921, the company took over the Krister Porzellanmanufaktur in Wałbrzych, Silesia. The factory was closed in 1945, but the brand was revived in 1951 and used until 1971. In the period of national socialism, Philipp Rosenthal, while Catholic, had to withdraw from the enterprise in 1934 because of his Jewish origin. The Board of Management and the supervisory board turned against Rosenthal and implemented various measures to prevent Philipp Rosenthal from using his voting shares in order to change the composition of the management board and the supervisory board. The government was asked for support and sold the voting shares to persons who were not well-disposed towards Rosenthal. However, the Nazi regime did not go directly against Philipp Rosenthal in order not to jeopardize the foreign business of the company. The reasonably covertly concealed Aryans took advantage of the family, and urged Rosenthal's successor to step out of the company. Philipp Rosenthal's death in 1937 finally paved the way for his grandchildren. In 1936, Rosenthal bought the porcelain manufacturers Waldershof and Thomas in Weidenberg-Sophienthal. Rosenthal Isolatoren GmbH (RIG) was established in 1939 with branches in Erkersreuth (Selb) and Hennigsdorf near Berlin. In 1939 the company changed to Rosenthal Porzellan AG. When the Decree on Companies of Deprived Commercial Enterprises (RGBI 1941, p. 177), adopted on 27 March 1941, forced the discontinuation of the Jewish company and brand name Rosenthal, the "Aryan" management intervened through Joseph Goebbels to continue the use of the Rosenthal brand name. With the return of Philipp Rosenthal's son Philip Rosenthal from exile and his entry into the enterprise in 1950, he won a pioneering role in the modern product design. In 1960, the Rosenthal Studiohaus was opened in Nuremberg, from which the world's first design chain was built. In 1965 the uniform name Rosenthal Glas & Porzellan AG was elected and shortened to Rosenthal AG in 1969. In 1972, Philip Rosenthal founded the furniture factory Rosenthal Einrichtung in Espelkamp. The furniture factory was renamed in 2009 Philip Möbelmanufaktur GmbH and in 2013 rebranded the Fröscher GmbH & CO. KG. Rosenthal, In collaboration with industrial designers such as Raymond Loewy, Tapio Wirkkala, Elsa Fischer-Treyden, Timo Sarpaneva, Verner Panton and Luigi Colani, created an impressive series of products. Walter Gropius design for Rosenthal the tea service TAC. In 1967, Rosenthal built the so-called "Glassmaker's Cathedral," a factory for the Thomas-Glassworks in Amberg. The Thomas-Glassworks was renamed the Amberg crystal glass factory. In 1997, Rosenthal AG was 90% owned by the British-Irish Waterford Wedgwood Group. Rosenthal was the market leader for high-quality porcelain and glassware in Germany and was the world market leader in conjunction with Waterford Wedgwood. In the year 2000, the company took over the Hutschenreuther brand and Hutschenreuther-Werk B in Selb. In June 2008, the Waterford Wedgwood Group wanted to divest the Rosenthal share package due to liquidity difficulties. At this time, around 1,100 employees were employed worldwide. The company, faced with insolvency by the subsequent collapse of Waterford Wedgwood, filed for insolvency on 9 January 2009. The subsequent insolvency proceedings of Rosenthal AG were opened on 1 April 2009 by the District Court.On 20 July 2009, a sale was announced to an Italian company, Sambonet Paderno Industrie (Arcturus Group). Founded on 1 August 2009, Rosenthal GmbH is an independent part of Sambonet Paderno Industrie (Arcturus Group). The Rosenthal company headquarters remain in Selb under the managing director Pierluigi Coppo. The Rosenthal Archive, a collection of around 15,000 exhibits from 130 years of company history, were purchased by the Oberfranken Foundation on 12 August 2009 and is provided as a permanent loan to the Porzellanikon, the State Museum of Porcelain in Hohenberg an der Eger, Selb. These include nearly all product designs, from the company's foundation to today, as well as originals designed by artists such as Salvador Dalí, Andy Warhol, Wilhelm Wagenfeld and Walter Gropius. Designers Otmar Alt Joannis Avramidis Bele Bachem...

A beautiful heavy Murano art glass bowl by Barovier Seguso & Ferro in honey yellow amber colour, Italy, circa mid / late 1940s It stays in very good original condition - with a ve...

A beautiful huge Murano art glass vase in the manner of Barovier Seguso & Ferro in honey yellow amber colour, Italy, circa mid / late 1940s It stays in very good original conditio...

A giving joy beautiful French Fayence Floor Vase fantastic Art Nouveau pattern - Impressing Colours Manufacturer unknown - marked Design Period 1915 - 1925 Country of Manufacture : France H / height: 46 cm ~ Gew. / weight: 4550 grs DM / diameter max: 28 cm ~ DM oben / diameter inner rim: 19.8 cm .... an ode to Southern France A Legend of Provence by Adelaide Anne Procter (30 October 1825 – 2 February 1864) The lights extinguished, by the hearth I leant, Half weary with a listless discontent. The flickering giant-shadows, gathering near, Closed round me with a dim and silent fear. All dull, all dark; save when the leaping flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint, — A Portrait such as Rembrandt loved to paint, — The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast: — Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back to me; linked to the mystic gloom Of that dark Picture in the ghostly room. In the far south, where clustering vines are hung; Where first the old chivalric lays were sung; Where earliest smiled that gracious child of France, Angel and knight and fairy, called Romance, I stood one day. The warm blue June was spread Upon the earth; blue summer overhead, Without a cloud to fleck its radiant glare, Without a breath to stir its sultry air. All still, all silent, save the sobbing rush Of rippling waves, that lapsed in silver hush Upon the beach; where, glittering towards the strand The purple Mediterranean kissed the land. All still, all peaceful; when a convent chime Broke on the mid-day silence for a time, Then trembling into quiet, seemed to cease, In deeper silence and more utter peace. So as I turned to gaze, where gleaming white, Half hid by shadowy trees from passers' sight, The Convent lay, one who had dwelt for long In that fair home of ancient tale and song, Who knew the story of each cave and hill, And every haunting fancy lingering still Within the land, spake thus to me, and told The Convent's treasured Legend, quaint and old: — Long years ago, a dense and flowering wood, Still more concealed where the white convent stood, Borne on its perfumed wings the title came: " Our Lady of the Hawthorns " is its name. Then did that bell, which still rings out to-day, Bid all the country rise, or eat, or pray. Before that convent shrine, the haughty knight Passed the lone vigil of his perilous fight; For humbler cottage strife or village brawl, The Abbess listened, prayed, and settled all. Young hearts that came, weighed down by love or wrong, Left her kind presence comforted and strong. Each passing pilgrim, and each beggar's right Was food, and rest, and shelter for the night. But, more than this, the Nuns could well impart The deepest mysteries of the healing art; Their store of herbs and simples was renowned, And held in wondering faith for miles around. Thus strife, love, sorrow, good and evil fate, Found help and blessing at the convent gate. Of all the nuns, no heart was half so light, No eyelids veiling glances half as bright, No step that glided with such noiseless feet, No face that looked so tender or so sweet, No voice that rose in choir so pure, so clear, No heart to all the others half so dear, So surely touched by others' pain or woe, (Guessing the grief her young life could not know,) No soul in childlike faith so undefiled, As Sister Angela's, the " Convent Child. " For thus they loved to call her. She had known No home, no love, no kindred, save their own. An orphan, to their tender nursing given, Child, plaything, pupil, now the Bride of Heaven And she it was who trimmed the lamp's red light That swung before the altar, day and night; Her hands it was whose patient skill could trace The finest broidery, weave the costliest lace; But most of all, her first and dearest care, The office she would never miss or share, Was every day to weave fresh garlands sweet, To place before the shrine at Mary's feet. Nature is bounteous in that region fair, For even winter has her blossoms there. Thus Angela loved to count each feast the best, By telling with what flowers the shrine was dressed. In pomp supreme the countless Roses passed, Battalion on battalion thronging fast, Each with a different banner, flaming bright, Damask, or striped, or crimson, pink, or white, Until they bowed before a newborn queen, And the pure virgin Lily rose serene. Though Angela always thought the Mother blest Must love the time of her own hawthorn best, Each evening through the years, with equal care, She placed her flowers; then kneeling down in prayer, As their faint perfume rose before the shrine, So rose her thoughts, as pure and as divine. She knelt until the shades grew dim without, Till one by one the altar lights...

Designer (execution): Hildegard Delius (1896-1955) Designer (presumed): Gerhard Meisel (1903-1979) Manufacturer (collaboration): Keramikfabriken Neuha...

a striking RED FAT LAVA FLOOR VASE no. 284-47 by SCHEURICH Scheurich originated from a joint venture initiated in 1928 by Alois Scheurich and his cousin Fridolin Greulich in the small town of Schneeberg, situated near the Czech border in Saxony. The venture involved the wholesaling of glass, porcelain, and ceramics. In 1938, the business was relocated to the market community of Kleinheubach in the northeast corner of Bavaria. Ten years later, the partners initiated the production of household ceramics, which were sold under the name Scheurich & Greulich. In 1954, the partnership was dissolved, and Alois proceeded to establish Scheurich GmbH & Co. KG proceeded to continue production independently. In 1955, the celebrated designer Heinz Siery was recruited by Scheurich as the company's lead form designer. In addition to designing an extensive range of shapes, he played a pivotal role in developing a successful overarching production strategy. This strategy involved producing a wide array of simple forms that could be produced cheaply and decorated in a variety of glazes. This resulted in the creation of a diverse and economically adaptable range of pieces. This approach proved to be entirely successful, resulting in Scheurich's ascendency in the market by the late 1960s. The company's strategy of maintaining low prices in conjunction with an extensive range of appealing designs resulted in significant sales, with millions of units sold annually. The designs were adapted twice a year to align with changing consumer preferences. Scheurich's product range included vases and flowerpots, in addition to ashtrays, piggy banks, candle stands, beer mugs, buffet clocks, wall reliefs and Christmas tree holders...

beautiful FLOOR VASE attributed to / most probably by RUSCHA KERAMIK RUSCHA KERAMIK was launched in 1948 when Rudolf Schardt assumed the management of Klein & 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. Hans Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA. 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. 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 (< 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." Manufacturer most probably RUSCHA Design Period 1965 to 1975 Production Period 1965 to 1975 Country of Manufacture Germany H / height: 40cm ~ Gew. / weight: 2950grs DM max / diameter max : 16,5 cm ~ DM oben / diameter inner rim: 8.8cm MARKED: marked G...

A very rare 'Aztec' relief-décor floor vase from JASBA KERAMIK. JASBA produced several series of ceramics on themes inspired by ancient civilizations; among the most sought-after t...

FLOOR VASE DECORA Ritzdekor (sgrafitto) A 40cm late50s / early 60s studio quality 'Klinker' floor vase nr. 56/40 with an sgraffito decor designed for DECORA Keramik. It is comp...

STUDIO KERAMIK FLOOR VASE Atelier Herta Huber Roethe Landshut 1950s (it´s been created by an artist who has worked in their Atelier : marked "BR") Manufacturer ATELIER HUBER ROETHE...

an amazing set of 2 STUDIO KERAMIK FLOOR VASES by Atelier Herta Huber Roethe Landshut 1950s Manufacturer HUBER ROETHE Design Period 1950 to 1959 Production Period 1950 to 1959 C...

beautiful Italian art pottery floor vase floral pattern Manufacturer unknown Design Period 1958 to 1968 Production Period 1958 to 1968 Country of Manufacture Italy H / height: ...

HUGE FLOOR VASE cloudy brown / blue glaze Manufacturer DÜMLER & BREIDEN Production Period 1968 to 1978 Country of Manufacture Germany H / height: 40cm ~ Gew. / weight: 4250g...

BESPOKE HUGE & HEAVY STUDIO KERAMIK FLOOR VASE - ARCHAIC AMPHORA amazing blue/brown luster overglaze Manufacturer unknown Design Period 1968 to 1978 Production Period 1968 to 19...

HUGE FLOOR VASE cloudy green glaze Manufacturer CARSTENS TÖNNIESHOF Design Period 1968 to 1978 Production Period 1968 to 1978 Country of Manufacture Germany H / height: 52cm ~...

FLOOR VASE Siershahner Feinsteinzeugfabrik DEKOR CAPRI 1950s Ritzdekor (sgrafitto) A huge 50s or 60s studio quality 'Klinker' floor vase nr. 54/50 with an sgraffito decor designed ...

A bespoke display cabinet, crafted by one of Munich's most distinguished cabinet makers, Heinrich Pössenbacher, during the early 20th century (specifically between 1908 and 1918).The...

The table is an exquisite and unique piece of craftsmanship, hand-made in the 1970s by Muller of Mexico. It is crafted from green and ebony colour marble, with a lined surface of ov...

a real beauty and an absolute rare piece as this is the luxury gilded edition of Schumann Kobalt floor vase range a very elegant Porcelain SCHUMANN Arzberg midcentury Classic Floor...

West German bulbous silhouette floor vase with handle by Gerda Heuckeroth for Carstens Tönnieshof mid/late 1960s. Although much is known about the various West German pottery manufa...

English description: Aristocratic Palace Size Italian Louis-Seize Wall Mirror around the turn of the century An amazing artwork made of individual facet cut mirrors which have...

This spectacular English Cocktail Bar is in amazing good condition - fully revised and rewired. Its solid wooden body is veneered with Tola Wood. (botanic name: Gossweilerodendron ...

Italian 1950s one of a kind BAR / SIDEBOARD attributed to Vittorio Dassi birch root veneer - solid birch "feet" - stained glass top - mirrored bar compartment - carved upper orna...

This bed and night stand was produced by Colli Torino established in 1850. - solid oak with hand-carved elements - mattress size is 120cm x 190cm - The company is well known becau...

This corner wardrobe was produced by Colli Torino established in 1850. - solid oak with hand carved elements and beautiful brass fittings with its original key - The company is we...