Items we’ve previously sold shown here to help people get to know W. German pottery. To see Bay items currently for sale, click here. (Page will open in a new tab.)
A Few Things to Know About Ruscha (1948-96)
1. Vases with no handles are numbered in the 800 sequence; jugs in the 300 sequence; and two-handled vases most likely to be in the 60 sequence.
2. Early work tends to have hand “painted” marks that often include the company name. Later work will often have an embossed “Ruscha”. In between, it was
common to have only numbers or number and country.
3. Ruscha mostly used white/buff clay but did use red clay from time to time, apparently most often in the late 50s to early 60s. The same shape in red clay tends to be slightly smaller with finer detailing than a version with white clay.
4. Many top form designers and glaze artists worked at Ruscha at
one time or another, including Kurt Tschoerner, Otto Gerharz, Hanns Welling, and Adele Bölz
5. Otto Keramik owns some of the molds, including the steer/bull and has issued items in various glazes. In most cases, new versions are fairly easy to pick out if you are familiar with older glazes. However, they seem to have reproduced a few early glazes well, not
surprising since Otto Gerharz Sr. developed many of them at Ruscha. (Contemporary volcanic glazes tend to be “flatter” than originals and may have less distinct coloring.)
6. My understanding is that Scheurich now owns the Ruscha name. Since Scheurich has taken advantage of interest in vintage items by re-issuing some of their own successes, they may try to use the Ruscha name in the same way. Always buy pottery based on quality, not “name”.
7. The iconic Ruscha 313 form was revised at some point, although when remains unclear. Shape changes made the 313 easier to produce in larger numbers, which is likely a main reason why the revised version is more common. Some of the later glazes, however, are still spectacular.
For more information and items for sale, please visit our home page.
Photos used show an original form 313, a later version of shape 333 (Ruscha did re-use some numbers.), and a Quadriga plaque….Bianca not included.
This is part of a series giving a few of the key things to know about individual companies.
1. Ceramano started in 1959 and was created by Jacob Schwadderlap (also owner of Jasba) to focus more specifically on higher quality art pottery. (While many commercial potteries have produced art pottery lines, most of them also produced other lines that were less expensive to produce and sell in larger quantities. In many cases, art pottery lines were only possible because the more decorative and utilitarian items made enough profit to experiment with “art”.
2. The original designer was Hanns Welling. Gerda Heuckeroth also did design work.
3. Ceramano used brown to red-brown clay with the exception of some blanks purchased from Ruscha in the very early years (possibly just wallplates).
4. Marks on Ceramano are almost always hand done, usually incised through the glaze and may include company, decor/glaze name, country, and shape number. In some cases, only the shape number is used. Some items include artist initials, but nothing is yet known about actual names. (The same is true with most companies.)
5. Just what a decor/glaze name refers to can vary to the point that items with the same name may look quite different. In other cases, the name actually refers to color rather than anything else. “Polaris” is the white version of a given form series, while the same design in red is “Fire” and in yellow is “Sunset”. (Polaris is pictured.)
6. Ceramano also produced some hand made items. An example with the “Achat” or Agate glaze is pictured. Lines on the bottom show where the pot was removed by sliding a wire back and forth, which is the case with all the “studio” items from Ceramano. (This technique shows up on studio work from other artists and times and is not exclusive to Ceramano.)
7. Some of the best known items include Pergamon and Rubin. Overall, Pergamon and a few others are fairly common, but form and quality of decoration can vary widely, which should be taken into account when considering “market value”. Better decorated, harder to find shapes or sizes can still be of significant “worth”. Rubin is harder to find and typically sells high, but there are also a variety of rare, impressive glazes of greater aesthetic value that may sell at a relative bargain….if you find them.
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