SCHEURICH Nr. 239/41

SCHEURICH Nr. 239/41A tall Scheurich Keramik vase with luminous horizontal orange lava stripes melting into a glossy milk chocolate brown underglaze. 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 in the northeast corner of Bavaria in

A tall Scheurich Keramik vase with luminous horizontal orange lava stripes melting into a glossy milk chocolate brown underglaze.

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 Alois founded SCHEURICH to continue the production on his own.

The celebrated designer Heinz Siery was recruited the following year.  He developed production techniques for SCHEURICH as well as designs.  The overarching manufacturing strategy was to produce a wide array of simple forms that could be decorated in a great variety of glazes.  This resulted in a range of pieces that was both extensive and economically adaptable.  The approach proved altogether successful; through the 1980s SCHEURICH produced more pottery than any other German manufacturer.  Much of it was for export.

The earliest SCHEURICH pieces sport discrete colors and simple geometric patterns.  In the late 1960s and the '70s, its glazes were characterized by brown-and-green color schemes, sometimes accented with more vibrant hues—however some décors featured the bold lava and volcanic finishes that are so admired today.  Molded décors inspired by ancient cultures or patterns from nature were also represented.  By the late 1980s, shapes and color scales became plainer and the work less attractive.