1970s Marei Keramik Chimney Vase Ivory, Lilac Palette Fat Lava Glaze, West German

THE ITEM
This charming 1970s hand-painted coffee set for twelve is by Winterling Schwarzenbach of Bavaria. 

These high-quality porcelain pieces carry the Mid Century Modernist design influences popular during the time these pieces were made. The shapes of the coffee pot, jug and sugar pot, in particular, are lightly geometric - angular yet curved. The set is glazed with Winterling's Indian blue, lightly dappled glaze, each piece is handpainted with stylised Sunflowers, Tulips and Rosehips patterning. 

Included in the set: 

• 1 Coffee Pot 
• 12 Coffee Cups
• 12 Saucers
• 1 Jug
• 1 Sugar Pot 

CONDITION

Excellent. No chips, cracks or repairs, there are mild signs of use wear that is commensurate with the age of the set. Please see photos as they form part of the condition report. 

MEASUREMENTS

• Coffee Pot: c. 7" / 18 cm tall x c.  7.5" / 19 cm wide (handle to spout). Base diameter: c.  3.7" / 9.5 cm
• Coffee Cup: c. 2.8" / 7 cm tall by c. 2.6" / 6.5 cm diameter
• Saucer: c. 0.8" / 2 cm tall by c. 5.1" / 13 cm diameter
• Jug: c. 3.3" / 8.5 cm tall by c. 2.6" / 6.5 cm diameter (at widest point)
• Sugar Pot: c. 2.8" / 7 cm tall by c. 3.6" / 9.2 cm diameter (at widest point)

Unpackaged weight (full set): c. 3.4 kg / 3,435 g

NOTES
Set will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY 
The company was founded in 1907 by seven Winterling brothers in Röslau, Bavaria and was originally named Gebrüder Winterling O.H.G.

In the space of 10 years, the company would go on to take over Oscar Schaller porcelain factory located in Schwarzenbach where they continued to expand their production of high-quality porcelain items. 

In 1950, the company was turned into a joint-stock company as well as starting another factory in Bruchmühlbach, in 1954. Despite its history of success, sadly, Winterling would eventually become bankrupt in 2000.

THE ITEM

This excellent work of Modernist design is by Antje Brüggemann for Rosenthal's 'Studio Line' division of design-orientated creations.  

Brüggemann is a leading German ceramic artist and designed this piece as part of her 'Linear' series in the early 1980s during her collaboration with Rosenthal.

The 80s design influence of distorted geometry is evident in the shape of this piece and also in the dusty-teal blue elements, which are outlined in green.

This stylish piece would suit a room with Minimalist, Modernist or Retro decor themes. 

A BIT OF HISTORY

Rosenthal (1879 - present)
The company founder, Philipp Rosenthal, moved his porcelain painting skills from Werl (North Rhine-Westphalia) to Selb in Bavaria, which he industrialised in the castle Erkersreuth with his painting workshop. The company grew from strength to strength over the years, with original pieces designed by artists such as Salvador Dalí, Andy Warhol, Wilhelm Wagenfeld and Walter Gropius. By 1997, Rosenthal was the market leader for high-quality porcelain and glassware in Germany and was the world market leader in conjunction with Waterford Wedgwood. Rosenthal launched 'Rosenthal Studio Line' to specialise in design-orientated art objects and goods. 

CONDITION
Very Good - no chips, cracks or repairs. There is mild use wear on the interior of the vase and two minor scratches (c. 2 - 4 mm) on one side that is commensurate with the age of the piece - please refer to photos as part of the condition of the report, The base of the vase bears the Rosenthal Studio Line insignia stamp. 

MEASUREMENTS
c. 7" /  18 cm tall (from base to rim) x 4.5" / 11.5 cm width. Depth: c. 1.7" / 4.2 cm. Unpackaged weight: 0.7 kg / 661 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

THE ITEM

A 1977 limited edition Weihnachten (German tr. 'Christmas Day') wall plate designed by renowned artist Bjorn Wiinblad in his recognised style, dominated by wavy lines, bright colours and romantic worlds. 

The glass dish dips at the centre, creating a circular frame for the featured figures and the outer frame is lightly embossed, raising the painted decor into relief decor effect and making the plate wonderfully tactile. 

The plate is adorned with gold, white and blue jewel-like coloured decor with the central figures being dressed in accents similar to characters from Wiinblad's popular Aladdin and 1001 Nights series. 

CONDITION

Excellent, no chips or cracks. Decor is printed with 'Weihnachten 1977' and Wiinblads signature as part of the surface design. The reverse of the plate is printed with Rosenthal Studio Line's limited edition stamp and the number '7'. Plate has original fitting of a wall hook. 

MEASUREMENTS
c. 0.8" /  2 cm tall  x 11.4" /  28.9 cm in diameter.

Unpackaged weight: 1.4 kg / 1,393 g

NOTES
Glass will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY
Bjørn Wiinblad (b. 1918 d. 2006) was a Danish painter, designer and artist in ceramics, silver, bronze, textiles, and graphics. Aged 17, he began an apprenticeship as a typographer, but soon realised that his heart was set on following the path of an artist and would go on from his beginnings as an illustrator to become a cosmopolitan multi-artist.

His work has been shown widely in Europe, in the United States of America first in 1954 and in Japan, Australia and Canada in 1968. Wiinblad was named Man of the Year in New York in 1985 and was awarded the American-Scandinavian Foundation’s Cultural Prize of 1995.

In 1957, Wiinblad was appointed Chief Designer for the famous German brand Rosenthal, a position that enhanced his international reputation even further.

Even though Bjørn Wiinblad was Copenhagen born and bred, and had trained in Copenhagen, his style was anything but classic Danish, and while functionalism ruled the roost in Denmark, Bjørn Wiinblad went the other way, espousing a style dominated by wavy lines, bright colours and romantic worlds.

Characteristics of Wiinblad's work include whimsical round-faced people, dressed in vaguely 19th-century costume. They are often surrounded by natural elements: twining vines, floral wreaths, and fantastical trees. When Wiinblad employed colour, he did so with great assurance. His colours are saturated and strong—sometimes almost psychedelic—and are often supplemented with metallic gold or silver.

Women were a consistent theme in the Wiinblad universe, displaying a wide range of emotional nuances, and their eyes – specifically, their gaze – were always very special. As a rule, they looked out with openness and curiosity – but with traces of dejection, melancholy and mysticism.

The eyes meant something very special to Wiinblad, so even though he employed a large number of people, he always painted the eyes himself and thus, the women were quoted to be intensely 'Wiinbladian'. 

THE ITEM

Presenting a excellent piece of Art Nouveau influenced design. 

The funnel form vase bears the Papaver poppy design, which was popular during the height of the Art Nouveau movement. There are two open poppies wrapping round the body of the vase, a bud and a smaller half open poppy with unfurling leaves complimenting the blooms. The decor has been crafted in raised relief, making this piece very tactile. 

A elegant piece suited to a room with Art Nouveau, Vintage / Brocante inspired decor. 

A BIT OF HISTORY

Engelbert Kayser (1840-1911) - an art dealer, entrepreneur, and ambitious artist - founded the trademark of the same name in 1894. Kayserzinn produced high-quality tin and pewter items in Jugendstil Art Nouveau style until 1920.

Kayserzinn's main designer and artistic director was Hugo Leven (1874-1956), a name to be compared with that of Liberty's main pewter designer, Archibald Knox. Leven was very successful as a designer, participating in world exhibitions and strongly influencing the German Jugendstil style with his designs. 

CONDITION
Very good.  No damage, however, there is age-wear - wear which is commensurable with the age of the piece, please see photos as part of condition report.

MEASUREMENTS
Height: c. 8" / 20 cm by c. 4.3" /  11 cm (rim diameter) 

Base diameter: c. 2.8" / 7 cm 

Unpackaged weight: c. 0.8 kg / 781 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

THE ITEM
This tall and graceful work of handblown art glass is by Erwin Eisch, German glass artist and painter.

The form of this piece is beautifully balanced with Art Nouveau and Loetz, Kralik influences yet still retaining the artistic creativity of Eisch. Lightly organic, this piece is finished with an undulating rim. The purple glass has finely 'pulled feather' detail within it that shows off fine bands of turquoise and apricot. The crackled gold iridescence begins at the rim, moves down from the neck and fans out around the body of the vase.

CONDITION
Excellent. No chips, cracks or repairs. There is negligible surface wear that is commensurate with the age of the piece - please refer to photos as part of the condition report. The underside of the base is inscribed with Eisch's signature of 'Eisch' and dated with '1983'.

MEASUREMENTS
Height: c. 18" / 46 cm x c. 5.6" / 15 cm diameter (across widest point). Unpackaged weight: c. 1.6 kg / 1,560 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY
The glass-making tradition of the Eisch family has been traced back to Mathias Alesch, born in the Bohemian Forest in 1689 and listed among the employees of a small glassworks there. In December 1952 the first glass was smelted in what was at the time the latest and smallest glassworks in Bavaria. In spite of initial difficulties, by 1956 Eisch glassworks had expanded to a 12-pot furnace.

The full name - Glashütte Eisch, lies at the heart of the Bavarian Forest, it is here that the Eisch family has been producing hand-made glass for over 60 years. Erwin Eisch has been regarded as the founder of the international studio glass movement since the 1960s, with Harvey Littleton as one of the first artists to use glass as a medium of artistic expression.

These sleek and chic works of iconic mid-century Modern art pottery are by celebrated and prominent designer Kurt Tschörner (b. 1912 - d. 1987) for the influential West German Pottery studio of Ruscha Keramik (1905 - 1996). 

The form features gently exaggerated curves and arches all over, reminiscent of popular works of Italian art potteries such as Bertoncello Ceramiche and Roberto Rigon with echoes of architectural geometricism worked into the design. The form is an excellent canvas for the semi-matte and textured lava glaze with similarly bold, hand-painted curves, delineation, charming florals, and colour palette. 

With the seamlessly blended echoes of Italian mid-century art pottery design and earlier Art Deco and Picasso-Cubist-esque influences to the form, it's easy to see why this form is sought after. 

The combination of the form, condition, sizes, and palette makes this duo an even rarer find. These statement works are excellent for stand-alone display.

CONDITION
Excellent. No chips, cracks, or repair. There is negligible surface wear and movement marks on the underside of the bases that is commensurable with the age of the pieces - please see photos as part of the condition report. The underside of the bases are signed - the taller: '321/4, Ruscha, Handgemalt (Handmade) M' and the smaller '321/3, Ruscha, Handgemalt (Handmade) Ed'. 

MEASUREMENTS
321/4 Height: c. 9.6" / 24.3 cm (from base to rim) x c.  6.5" / 16.5 cm in length (across longest point). Width: c.  4.3" / 11  cm. Base measurements: c.  3.5" /  9 cm. 

321/3 Height: c. 7.9" / 20 cm (from base to rim) x c.  5.1" / 13 cm in length (across longest point). Width: c.  3.9" / 10 cm. Base measurements: c.  2.9" /  7.3 cm. Unpackaged weight [Pair]: c. 1.2 kg / 1,215 g

A BIT OF HISTORY
Ruscha (established 1906 - 1996) Originally founded in Rheinbach by Georg Schardt, it was known as Klein & Schardt until 1948. Rudolf Schardt would take over the company and rename it to Ruscha, the name created from the first letters of his fore and surname. As Ruscha entered the ceramics boom in the 1950s, the pottery was joined by art pottery director Cili Wörsdörfer who made her handpainted designs for series such as Milano and Zebra wildly popular. Otto Gerharz was the production director, designing innovative glazes such as Vulkano. 

Ruscha would later add to its success with Kurt Tschörner joining in the 1960s, designing whimsical and daring forms such as the 313 and 321 jug vase that became and remain sought-after hits. 

Other greats who joined Ruscha included Ernst Borens, Hans Welling and Adele Bolz. Unfortunately, the pottery's success came to an end in the 1990s, when it finally closed its doors in 1996, selling its name and many designs to Scheurich who produced vintage-inspired designs under the 'Ruscha Art' brand.