There are a number of difficulties for collectors who are curious but not familiar with West German pottery. First, the wide range of pottery, depth in style and quality is overwhelming. Second, collectors have difficulties in finding information as many Germany pottery companies have closed down and archives have been destroyed. Here is however a summary of the information I have gathered on the topic.
Production from 1950 to 1970
West German pottery is notable for its innovative design and glaze. Companies such as Bay, Scheurish, and Dumler & Breiden, Ermons & Sohne, Otto Ceramics, Jasba, Strehla, Ubelacker, Carsten Tonnieshof, Ceramano & Keto exemplify this point. To this list, one must add the older companies such as Rosenthal, Hutschenreuther, Karlsruhe and the studio potteries about which much more research is needed. In total, more than 100 commercial companies were listed in the era 1949-90. The first period that concerns us here— the 1950s—is characterized by a large and interesting production. It is also a time of economic growth that sees the emergence of a fully consumer society in West Germany. The second period 60s-70s is also of particular interest as it sees a dramatic transformation in West German ceramic’s style. The glazes are varied and original. Some forms as in Scheurish for instance, can be found in 50-100 different types (Moran, 2009). In her Collective Price Guide 2009, Judith Miller gives us some indication on the general trends in style from the 50s to the 70s to which I have added some personal observations.
The 1950s
Form/Pattern: Organic, curving, simple and also geometric.
Color: Primary
Style: If you have acquired a jug vase, note that in the 1950s, jug handles tended to be ‘strongly angled’ but took a ring form from the 1960s onward. An example of this can be seen in the evolution of notable pieces of this era such the organic jug (form 313) created in 1954 by Kurt Tschoerner for Ruscha.
Credit: Retrominded pottery & glass
The 1960s-1970s
Form/Pattern: Structured patterns of the 1950s give way to extraordinarily varied glazes: trailed, dripped or daubed. The example below is a volcanic fat lava by Otto keramik
Colors: Mainly primary colors but also many tamer designs in browns, beiges and single colors.
Style: Thick, crackling, bubbling, volcanic glazes, and fat lava.
Credit: Forrest D. Poston
And so what? Well as I wrote in my previous post, German pottery is said to be the next big thing in the ceramic category and a very affordable one. If you care to listen to the experts, collectible include the unusual fat lava of the 1960-70s, and more specifically the floor vases: the brighter the color, the better (see Miller, 2009). Perhaps, even as bright as the one that makes a lovely corpse in my cupboard ;) As far as I am concerned, the expert who goes about with Fat Lava on his lips can be boiled with his own pudding.
This term has caught on with collectors on forums and elsewhere but is in fact misused. Fat lava is only a subcategory in West German pottery. D. Forrest Poston (2009) points to the specificity and confusion about the lava glazes in this article:http://www.suite101.com/content/fat-lava-glazes-a93362
Long before West German pottery became associated with the fat lava, stunning items were made with traditional glazes that are actually as beautiful and complex. The following is as example of German 50s style pitcher with gold over brown patch glaze detailing manufactured by Jasba (Modcats.com: $65).
Credit: Modcats.com
Finally, within this era there are also unusual plates and plaques, particularly in the 1950-60s. Whether they are becoming desirable or not, I do not know. But one of the largest producers of the time was Ruscha, who made also enamelled decoration in the 40s-50s. And if you like the Oriental, Cubbist, or Art Deco style Ruscha is a better word than lava for the lips.
