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midcentury SCHRAMBERG MAIOLICA box Barbotine FISH TUREEN TERRINE handpainted

$382.96

£286.68

€320

CA$527.19

A$576.32

CHF 304.90

MX$6,896.57

NOK 3,879.39

SEK 3,551.19

DKK 2,438.01

About the Item

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 (Moritz's son) returned to Germany with his family and was immediately allowed to take over the business. The first post-war generation focused on rebuilding the damaged factory, but by the early 1950s decorative ceramics had regained its former market share. Sophisticated glazes developed by ceramics director Joseph Saradeth and a temporary revival of the stylised floral patterns of the 1920s contributed to the recovery. The new designs came from Ingrid Helmbrecht-Witzer and Ferdinand Langenbacher, who had been with the company since 1918. With the arrival of Elfie Stadler in 1953, production shifted towards the new stylistic trends of the time. Until her departure in 1963, her shapes and decorations determined the appearance of Schramberg Majolika products, including an idiosyncratic red clay series developed by Joseph Saradeth. In addition, Peter Ernhofer played a major role in the appearance of the ceramics of the 1950s through the development of many new colours and glazes. Under Stadler's successor Solveig Eriksen, who was a student of Björn Wiinblad, stereometric forms and Scandinavian-influenced decorative designs became dominant. In 1970 Peter Meyer became the sole owner of the factory and continued the work of his father and uncle for the next ten years. On 6 December 1980, Peter Meyer died of complications following a heart attack, and in the years that followed the factory was run by various directors, but with much less success. His workers even said that the heart and soul of the factory had died with Peter Meyer. In 1989, the factory was finally closed and the site cleared to make way for new industry; today, the former main building houses the headquarters of the newly established Industrial Centre. 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 MARKED: Schramberger Majolikafabrik 5624 :-: fair condition with some small - Considering the sensitive material I would even say good -- let´s call it charming vintage! :-:

Creator:
Schramberg Majolica (Maker)
Dimensions:
Height: 7.49 in (19 cm)Width: 11.82 in (30 cm)Depth: 5.91 in (15 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Maiolica
Place of Origin:
Germany
Period:
Mid-20th Century
Date of Manufacture:
1955-1965
Condition:
Seller Location:
Landshut, DE
Reference Number:
1stDibs: LU8587241835442

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