SKU: 74015820868

LARGE SCHEURICH KERAMIK RED & BLACK FAT LAVA VASE Nr. 529/38

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Description

LARGE SCHEURICH KERAMIK RED & BLACK FAT LAVA VASE Nr. 529/38A 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. SCHEURICH 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 Saxonywholesaling glass, porcelain, and ceramics. The business was moved to the market community of Kleinheubach

A 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.

SCHEURICH 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 & Greulich. In 1954 the partnership was dissolved, and Alois founded Scheurich GmbH & Co. KG to continue production on his own.

The 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.

Scheurich 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.

The 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.

Some 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).

Some 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.

The 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.

By the late 1980s, shapes and color schemes became plainer and the work less attractive to collectors.

Details

Dimensions
6.5ʺW × 6.5ʺD × 14.75ʺH
Styles
Abstract
Mid-Century Modern
Brand
Scheurich Keramik
Period
1960s
Place of Origin
Germany
Item Type
Vintage, Antique or Pre-owned
Materials
Ceramic
Condition
Very Good Condition, Original Condition Unaltered, No Imperfections
Color
Red
Condition Notes
Excellent Vintage Condition
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SKU: 74015820868

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ImTooTired
Natrona Heights, US
★★★★★ 5
Gender Roles is a scam
Format: Paperback
This is why most women play dumb. They play dumb to please males that it becomes who they are. It’s a waste of a lifetime to make yourself feel small just to make someone feel good about themselves.
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Reviewed in the United States on August 15, 2021
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Amazon Customer
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★★★★★ 5
Five Stars
Format: Paperback
Why read Butler when we have Wittig?
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Reviewed in the United States on November 27, 2017
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CK
Omaha, US
★★★★★ 5
Five Stars
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Great and thought-provoking!
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Reviewed in the United States on April 16, 2017
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Chris Eldredge
Massapequa, US
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excellent sevice
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Reviewed in the United States on June 23, 2015
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Lee Hall
Battle Creek, US
★★★★★ 5
Gem from a brilliant thinker.
Format: Paperback
This book will forever redefine feminism for its readers. There are two threads: one political, the other literary commentary. Fortunately, Witting pulls the former into the latter. The astute and radical political critique in Wittig's book is uniquely powerful. Wittig addresses the question of how a movement is comprised of both group energy and individual experience. The theory, legacy, and limits of Marx and Engels are discussed. Then, drawing on de Beauvoir and other iconoclasts, Wittig addresses our dominator culture in a way that goes directly to its core. Wittig deals efficiently yet persuasively with the argument over whether nature or culture is responsible for inequality, declaring that "there is no sex." This statement becomes the book's alpha and omega, and the lens through which Wittig shows us history, literature, and the future of activism. Like whiteness, maleness is a social category that can be renounced. Man (Homo) once meant everybody in the human community -- it was indeed generic, in the unifying sense. Unfortunately, the word has so frequently been used to describe a socially constructed group that expels half of itself in order to oppress it, "man" is now identified with those identified as male. In the essay "The Category of Sex" Wittig writes: "The perenniality of the sexes and the perenniality of slaves and masters proceed from the same belief, and, as there are no slaves without masters, there are no women without men. The ideology of sexual difference functions as censorship in our culture by masking, on the grounds of nature, the social opposition between man and women. Masculine/feminine, male/female are the categories which serve to conceal the fact that social differences always belong to an economic, political, ideological order. ...The masters explain and justify the established divisions as a result of natural differences." I understand that Wittig has recently passed away. If only I had discovered this book a little earlier, so that I could have met the author. That feeling, I suppose, is the sign of a truly good read. "A text by a minority author is only successful if it succeeds in making the minority point of view unviersal" writes Wittig --and to read this book from beginning to end is to find that the author has done just that.
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Reviewed in the United States on July 11, 2004

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