Tag Archives: Ruscha

Keys to the Company: Ruscha

cropped-catswho.largecanvas.jpgA 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

The original 313 form had lines that were perhaps a little too close to Murano glass in ways that molded pottery couldn't handle.
The original 313 form had lines that were perhaps a little too close to Murano glass in ways that molded pottery couldn’t handle.

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

ruscha.333.mug

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”.

bianca.ruscha.2.5.177. 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.

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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.

Kurt Tschoerner Ruscha Designs

The original 313 form had lines that were perhaps a little too close to Murano glass in ways that molded pottery couldn't handle.
The original 313 form had lines that were perhaps a little too close to Murano glass in ways that molded pottery couldn’t handle.

Some of the earliest designs that Kurt Tschoerner did for Ruscha show his experience with glass and strong influences from Murano glass. This is clearly seen in the original and iconic 313 shape and bowl shape 417, both circa 1954.
The curves on these items are elegant and well-proportioned, but they are better suited to handmade glass than to molded pottery. That may well be why shape 313 was eventually redesigned with lines more like a ceramic pitcher and less like Murano glass.
Full documentation of which shapes Tschoerner designed for Ruscha and possibly for Otto Keramik is still lacking, so it’s difficult to judge when and how Tschoerner

Ruscha bowl shape 417.
Ruscha bowl shape 417.

adapted to pottery design, but the glass-like curves disappear from West German pottery fairly quickly. Luckily, pottery has the potential for great shapes of its own and some things can be done with molds that can’t be done by hand, so even though certain elements were lost, their place was taken by other excellent aesthetics…when at their best.

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Ruscha 313, Iconic and Redesigned

I still consider the introduction of the Ruscha shape 313 in 1954 to be the beginning of the golden age of West German pottery.  The Kurt Tschörner from was elegant, whimsical, daring and a delight to the eye with its spout thrust forward and every line following that forward line.  It captured everything that the post-war pottery seemed intent on doing, lifting spirits and looking forward.  I’ve been pushing the 313 as an icon for over a decade, and the idea has caught on.  There is, however, a problem because there are two versions of the 313.

Somewhere in the 1960s, the form was modified.  Imagine someone

The original 313 form with its low, forward shape and a sharp angle where the handle meets the throat.
The original 313 form with its low, forward shape and a sharp angle where the handle meets the throat.

grabbing the top of the vase and pulling upward.  The resulting “pitcher” is not only a bit taller but a bit less “forward”, less elegant, less whimsical.  So why change what seemed to be one of the perfect art pottery forms?  I suspect that the answer is an old one, commerce.

The redesigned Ruscha 313, less forward thrust and room to fit a finger under the top of the handle.
The redesigned Ruscha 313, less forward thrust and room to fit a finger under the top of the handle.

All of the things that made the original

313 special would almost certainly have made it difficult to produce.  Several of the angles were such that they probably didn’t come out of the mold well on a regular basis.  That would mean some were lost then, while others would require additional hand sanding to be worth glazing.  Also, the handle was probably prone to breaking somewhere between the kiln and the store shelf.

Quite possibly, the 313 was a victim of success, and it may have been the need to produce greater quantity that required the redesign.  The later version is certainly a fine form, and some of the glazes are among the best of the era, but it’s really only the original that’s the true icon in terms of form.  (No word on who did the redesign.)

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The Fat Lava Insanity

For my first post, I’m jumping right in with pet peeve time.  While I ES Keramik glaze, excellent fat lava examplelove the phrase fat lava, it is terribly over-used, misused, and abused.  First of all, “fat lava” and “W. German pottery” are not synonymous.  Depending on how tightly you define fat lava, I would guess that less than 15% of W. German pottery qualifies.

The phrase became an overnight sensation when Mark Hill published the expanded show catalog with the name “Fat Lava”, and some people think that’s where the phrase began.  Like most overnight sensations, this one was actually years in the making since eBay sellers had been using the phrase for a long time before the show or catalog.  There are disagreements over Carstens vase with rough texture but not fat lavathe origin, and it will never really be known, but based on the glazes sellers were trying to describe, my guess remains that it’s a computer translation problem.

The glazes described were sometimes volcanic, often “runny” or “drip” glazes.  However, while early 20th century drip glazes are the same level as the surrounding glazes, these “fat” glazes are significantly thicker than the glaze level they cover, sticking up from the body of the vase.  I believe that “thick” got translated as “fat”, Steuler vase designed by Heiner Balzaarand the phrase worked so well that it stuck.

Then, it worked so well after the release of “Fat Lava” that sellers began using it as a keyword to get attention, and it got applied to everything, thicScheurich Keramik vase with volcanic fat lava glazek or thin.  I’ll still use the phrase when needed, but it’s rather like a friend that insisted on hanging around enough to become an irritant.  If you love West and East German pottery, give it enough respect to call the pieces by their own name, as close as  possible with what we know so far, anyway.

If you reached this blog without going to the main site, you can get there by clicking here: ginforsodditiques.com.  You’ll find more information plus items for sale…….not just the usual suspects.