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(Leipzig.), by Leipziger Messe (page images at HathiTrust)
The success of the Fatherland one sees reflectedmore or less vividly in all true German faces, and the relationbetween the face and the success seems demonstrated by a logic sounerring as to make envy vain.
The final phrase of "Darmstadt" betraysJames' own misgivings when he comments on "the trail of theserpent - the footsteps of Bismarck."James unabashedly confesses that his opinions on Germany followwhat we would nowadays call conventional wisdom.
by Karl Berger (page images at HathiTrust; US access only)
Necessarily, these ideas would adopt foundations of German cultural superiority and common identity which had been espoused at the start of the century, and this was encouraged by colonialism....
Liberal nationalism was dying from its own success, and a new brand of popular ideas on the German Volk and fatherland was emerging to represent the generation which had been born in the boundaries of a German state, and was now reaching adulthood.
by Hugo Gering (page images at HathiTrust; US access only)
The same could be said for a business or manager, if a business spends its days not getting simply tasks done and leaving it all the be rushed through at the last minute sacrifices may be made in terms of quality.
Eager to start a business, he jumped in making Blockbuster the Wal-Mart of movie rentals offering a wide variety of movies to customers in a family environment with standout buildings and bright lights....
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by Ludwig Geiger (page images at HathiTrust; US access only)
It keeps me company as I walk in the woods and the fieldsand sits beside me - not precisely as a black care, but with aninfluence, as it were, which reminds one of the aftertaste of thosearticles of diet which you eat because they are good for you andnot because you like them."And James, for all his supposedly fastidious superiority to thegrosser facts of existence, harbored no illusions about the ultimatesource of German "weightiness." The passage deserves quotation infull, but I have to abridge a little...
Berger (page images at HathiTrust; US access only)
If you have not been used to it,if you don't particularly relish it, you doubtless deserve somesympathy; but I advise you not to shirk it, to face it frankly asa superior critic should...I have learned no especial German secrets,I have penetrated into the bosom of no German families; but somehowI have received - I constantly receive - a weighty impression ofGermany.
von Gerstenberg (page images at HathiTrust; US access only)
German pottery companies throughout the era, and the original 313 shape designed by Kurt Tschörner and introduced in 1954 should become known as one of the definitive mid-century forms. Not many shapes are worth collecting regardless of decoration, or even without decoration, but this is certainly one such item.
Some of the earliest hand-applied decorations, such as Milano and Domino, were created by Cilli Wörsdorfer followed by glazes (Vulkano) created by Otto Gerharz. These were the early focus among collectors, but attention has more recently turned toward the lava and metallic glazes that appeared beginning around 1965, after the 313 form was simplified for ease of production.
Value on earlier versions is in form, decoration and likely lower production numbers. While the later version still has an interesting form, the primary value is in the glaze. Production numbers for the shape were high, but given the enormous variety of glazes used, many glazes are still difficult to find. Some prices for the better early decorations and the most striking late decorations have already reached $350-450 at auction.
Most of the best form and decor designers worked for Ruscha either directly or freelance at one time or another, and the company managed to continue production longer than most with some high quality items into the 1980s. That means Ruscha items are generally easy to find, but the better forms and decors will find a strong market as collectors become familiar with production.
Alert: The Ruscha name is now owned by Scheurich and used for special items. So far, these items are not easily confused with the better work done by the original company, but it's another case of remembering to buy the item, not the mark.
by Gertrud von Rüdiger (page images at HathiTrust; US access only)
"Far away in the mild starlight stretch the dusky woods whose gentlemurmur, we may suppose, unfolds here and there to a fanciful Germanear some prophetic legend of a still larger success and a stillricher Fatherland.
: Oskar Gerschel?], 1878) (page images at HathiTrust; US access only)
took over the company. Later items are sometimes marked with a foil label rather than the earlier "typewriter" label, but some of the same forms stayed in production. There are also some later glazes quite similar to the earlier ones, although in general later versions appear to be less complex.
Most Otto items are 8" or under, which is likely to put a higher than usual premium on larger pieces. While I expect the volcanic glazes to get the most attention, collectors with a sharp eye should pay close attention to many of the other glazes.
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