Upper Midwest Society of Steinologists
A nonprofit organization devoted to studying and collecting drinking vessels particularly antique beer steins and related objects -- a resource for collectors in Minnesota, Wisconsin and Iowa (1968-2010)
Some Basics about Mettlach
by Walt Vogdes
| This article provides an introduction to beer steins which were produced by Mettlach in their "golden age" of stein production between 1885 and 1910. Mettlach is easily the best known name among manufacturers of old beer steins, and to collectors the name is synonymous with quality and value. To be accurate, Mettlach is but one of the multiple factories of the company of Villeroy & Boch (V&B), its name being taken from the village where it is located. But the name is a very useful one, since the great majority of steins produced by Villeroy & Boch and sought by today’s collectors were produced in this factory. Moreover, the trademarks employed on the base of their wares prominently feature the name Mettlach. Located on the Saar River in western Germany, close to borders with Luxembourg and France, the Mettlach factory is housed on the grounds of a former Benedictine Abbey dating to the 10th century. The factory was founded on this site in 1809 by Johann Franz Boch-Buschmann, and the company of Villeroy & Boch resulted from a merger with Nicolas Villeroy in 1836. Each of several V&B factories designed (and trademarked) their own wares, and while other factories admittedly produced some high quality and desirable steins, this article will deal exclusively with those manufactured at Mettlach. Further, while Mettlach produced plaques, pokals, beakers, punch bowls, pitchers, tobacco jars, vases, dinnerware, ash trays, beer taps, candlesticks, bottles — the variety seems endless — this article will stick with beer steins. The Attraction for Collectors Mettlach steins have a number of characteristics which make them a perfect collectible:
While we might be tempted to speculate that the majority of this production remains in Germany, this is a very shaky conclusion. In addition to normal breakage over time, huge quantities of these examples of German culture were intentionally destroyed by conquering forces after each of the two World Wars. Mettlach wares became well known in the US following exhibitions in Philadelphia (1876) and Chicago (1893), and US collections provided a safe haven during the war years. As a result, a significant portion of the existing Mettlach pieces are in the US. More important to today’s collector than the original production quantities is the quantity which remains intact. Although in a few cases only one or two examples are known, the majority of items are more common, with somewhere between 100 and 500 examples being seen on the American market. Types of Steins The primary "lines" of steins produced by Mettlach are briefly described in the following sections. While reference is made to production techniques, it must be pointed out that Mettlach used many different techniques which were refined over time, and likely altered these techniques in producing specific items. Much research has been done to try to understand how Mettlach produced these items, and each of the theories is able to produce evidence to support it. While the various categories of Mettlach steins and their markings are discussed below, it should be noted that the stein type is the primary characteristic by which all steins are known. Thus collectors refer to "old style", relief, etched, cameo, PUG, etched and PUG, etched and relief, character, faience, Rookwood, Delft, etc. Note that these terms refer to the primary area of decoration on the stein, including the side decorations, but ignoring any framework surrounding the decoration as well as the rim and base ornamentation. | ||
| "Tree-Trunk" Relief The early (pre-1880) stein production by Mettlach was generally limited to a relief "tree trunk" style, where the body was molded with the appearance of a tree trunk, and leaves and vines were added in relief. These steins, also called "old style", were frequently highlighted with shiny platinum. Comprising a very small fraction of the total stein production of Mettlach, these early pieces are largely ignored by today's collectors. The construction of a railroad along the Saar River, together with new production techniques and an emphasis on the best artistic standards of the past, allowed Mettlach to introduce several new lines in the years following 1880. These wares, featuring extensive use of color, were termed "frankly unrivaled" at the 1885 World’s Fair in Antwerp, bringing Mettlach worldwide renown and stimulating vigorous production. | ||
 Etched or Chromolith The most noteworthy innovation during this period was the introduction of what we today call "etched" steins, and it is this line which led to the acclaim and popularity which Mettlach enjoyed. The term "etched" derives from the look and feel of the decoration, where the outline and details of the design are formed by incised black lines. These lines can easily be felt by fingertip or fingernail. The design was made from colored slips of clay, which are separated and given detail by the incised lines. These lines are actually formed by mold (although the exact technique has been the subject of much research and speculation), and no "etching" of the surface was actually involved. The stein shown to the right (form 2134) is a favorite among fans of artist/designer Heinrich Schlitt. It is commonly referred to as the "dwarf in a nest". The inlaid lid shows a rooster at sunrise. The most common and most popular themes for etched steins include scenic illustration -- tavern scenes, castles, the Munich Child, medieval scenes, etc. However, a number of steins were made with abstract designs, and these are generally known by another name. "Art Nouveau" steins feature the flowing lines and geometric patterns of that style, although they are still executed with in the etched technique. "Mosaic" steins involve a repeating pattern comprised of many small sections of colored clay. While bearing many similarities to etched steins, they do evidence some of the characteristics of relief, and are generally more complex in their style. | ||
 Relief At about this same time Mettlach began to introduce relief steins using either applied or molded relief decoration. The decoration was typically light in color against a darker color on the body, frequently blue or terra cotta (shown to the right with a greenish-gray background). The relief coloration was set by the color of the clay. Applied relief designs were formed using a flat mold, then applied on top of the undecorated body before firing. Molded relief pieces were formed by pressing the white clay into recesses in the form before the colored clay was added for the body. These steins are similar in appearance to Wedgwood Jasperware, although of higher quality and finer detail. A later innovation involved the use of full color relief decoration, but the production of relief steins never approached the volume of etched steins. | ||
| Cameo and Phanolith Similar in initial appearance to relief items, cameo steins utilize a more translucent material for the design, and exhibit a finer degree of detail, achieving an appearance similar to shell cameos. Whereas relief steins are commonly glazed, the cameo decoration is unglazed, or bisque.  The two lines also used different background colors, with the cameo items using a sea-green or dark blue unglazed background which heightens the translucent feel of the decoration. Cameo steins were given form numbers in the 2000’s and 3000’s. The term "phanolith" is applied to plaques which may actually have been made with a finer, more translucent process than cameo. The figure shown to the left is a phanolith plaque of modern manufacture, but very finely done, nonetheless. Because the detail of this item is essential to understanding how it differs from standard relief pieces, you may click anywhere on the image to see a larger version. | ||
| Print Under Glaze (PUG) Steins In 1886 Mettlach initiated use of a transfer technique for decorating a less-costly line of products based upon a process employed by the English. This involved the use of lithographed designs on metal plates, which then transferred the full-color design to a paper "transfer".  The stein body was glazed and fired, then the transfer applied, followed by another clear glaze and final firing. There are also a number of Mettlach PUG steins on which the transfer consisted of only an outline of the design, and the colors were handpainted. Unlike other Mettlach lines, PUG decorations are flat on the body and smooth to the touch, and the steins have a glossy glaze finish. Because they required significantly less handwork, the simple half-liter PUG bodies originally cost about one third as much as the half-liter etched bodies, although with the addition of a pewter lid they were about half as costly. Interestingly, the pewter lid for a simple half-liter PUG cost more than the body alone! The use of transfer decoration meant that a unique mold was no longer required. A large variety of decorations were applied to the same body form number. Forms 1526 and 1909, in both ½-liter and one liter sizes, were the most commonly used, although there were many others. In some cases the same design was used on more than one body. Whereas etched and other types of steins are generally known by the form number, PUG steins are known by the combination of decoration number followed by form. As an example, the ½-liter PUG stein illustrated here, decoration number 591 on body form 1526, is commonly referred to as "591(1526)". | ||
| Specialty types At various times Mettlach produced steins which had the same decorative style as other manufacturers or periods, including Delft designs, faience and Rookwood. The Mettlach "Rookwood" steins were similar in general appearance to standard-glaze portrait items produced at the Rookwood factory in Cincinnati, OH. The outline of the decoration for these items was put on the body using a printed transfer, and the decoration was finished by hand. The Mettlach Rookwood steins, all of which are portraits, were made with a fancy "carved" pewter lid, many with a large ball thumblift, reminiscent of lids from an earlier period. Many of the faience and Delft steins also came with these lids, and some of the faience steins included a pewter footring. | ||
| The BAVARIA Line This line of transfer-decorated steins, bearing the incised word BAVARIA as part of the trademark, appeared in the catalogue of 1906. These steins were simpler in their body shapes and overall decorative techniques, making them compliant with emerging trends of the Jugendstil period, while simultaneously making them less expensive. | ||
| Sizes While the vast majority were 1/2 or 1 liter in capacity, Mettlach produced steins ranging in size from 0.05 liter (very few, PUG decorated) to 7.0 liters (only one, etched #1161). This etched giant, standing 21" tall and weighing about 11 pounds -- empty -- is signed "C. Warth". The design features two ladies in Victorian costume holding foaming steins of beer, with an Imperial German Eagle above a very typical incised German verse:
With figural stoneware inlaid lid this stein cost 40 DM in 1885, making it the most expensive stein offered by Mettlach. The body without lid cost 30 DM, for which sum one could purchase 7 or 8 etched steins with inlaid lids. Lids Most collectors today feel that without a lid, a stein is incomplete. This is especially true for Mettlach, since a very large number of the steins had stoneware inserts (inlays) in a pewter ring designed to match or complement the body. While Mettlach steins could originally be ordered without lids, those steins were in the clear minority. The various types of lids originally accompanying Mettlach steins include figural (three-dimensional), etched inlay, PUG inlay, fancy pewter, simple domed or low-relief pewter (the most common lids on PUG steins) and presentation lids (usually silver or silver-plated and probably added to a specially ordered lidless piece). Etched steins bore either etched inlaid lids, figural lids or pewter lids. The "Occupational series" provides an excellent example of etched lids which complement the themes on the bodies of the steins. PUG steins were made with either PUG inlays or pewter lids. While pewter lids were more expensive and more prized than many of the stoneware inlays during the height of Mettlach production, that appeal has been reversed for modern collectors. Mettlach Artists Mettlach employed a large number of artist/designers, among them some of the most prominent of their time. Most prolific among them were Heinrich Schlitt, Otto Hupp, Fritz Quidenus, Christian Warth, Johann Baptist Stahl, and M. Hein. Other notable artists who designed steins for Mettlach include Ludwig Hohlwein, Franz Ringer and Richard Riemerschmid. A large number of steins, although still the minority, carry the name or initials of these artists as "signature". Many unsigned steins can still be attributed to the artist who conceived of their design. The works of Heinrich Schlitt, a very famous Munich artist who designed murals in many public facilities, is a favorite of Mettlach collectors. Many of his works feature Heinzelmaennchen, the German "mystery people", or fun-loving dwarfs. The steins designed by Ringer, Hohlwein, Hupp and Riemerschmid are also highly coveted by collectors for their artistic execution. Recognizing Mettlach Steins While many Mettlach collectors can spot a Mettlach stein across a room without having to examine it, the easiest way to identify Mettlach wares is by the trademarks which appear on the bottom of the vast majority of the steins. (For illustrations of Mettlach marks, see the article in the Library entitled "Mettlach Marks: The Basics".) Most Mettlach steins produced between 1885 and 1910 bear one or both of two trademarks: the incised abbey tower (sometimes incorrectly called "the castle mark") and/or some variant of the stamped Mercury mark. The tower mark is actually two separate marks -- an incised representation of the old abbey tower above a banner carrying the name Mettlach and the monogram V&B. The Mercury mark, usually stamped in green but known in blue, brown and black as well, shows Mercury, god of commerce, over a straight center panel with the words "Villeroy & Boch" and a semi-circular band identifying the Mettlach factory. (The variations of this mark serve as a dating system, but that goes beyond the scope and purpose of this article.) In addition to a trademark, several other markings typically appear on the base of Mettlach steins, the most important being a three- or four-digit incised form number, and in the case of the PUG, Delft and Rookwood steins, a stamped decoration number. Other marks include a Roman numeral indicating the size, a two-digit number indicating the year, and various quality-control marks. Steins manufactured for export may also be marked "Made in Germany", or even Reg. U.S. Pat. Off. Some Mettlach steins are found without trademarks, but in many cases the maker can still be confidently identified as Mettlach. If the incised mold number or the stamped or painted decoration number is present it may be used to look up the piece in a Mettlach reference book. If the mold number cannot be found, or if it is partially obliterated, the digits should be compared with the distinctive appearance of known examples. Other typical marks -- the size number, the year, the quality control number -- are useful to imply Mettlach. The inside should show a characteristic bright white glaze, similar in appearance to porcelain. Above all, the decoration appearing on the stein should be exceptionally clear and clean, and the stein should show overall excellence in design and quality of production. Summary Mettlach, one of several factories of the Villeroy & Boch ceramics company, was the most prodigious of all stein manufacturers between 1885 and 1910, sometimes called "the golden age of beer steins". Their wares are readily identifiable by quality, style and artistry, as well as by very thorough base marking. Steins were produced in a variety of different lines, including the following: "old style" - applied relief, frequently tree-trunk motif, used platinum highlights etched - full color, normally matte finish, detailed designs where the design is flat but detail and color separation is provided by incised black lines which can be felt by fingertip relief - the primary design is presented in relief in one color against a contrasting body color, or later, a full color relief design cameo - similar to relief, but the decoration is an unglazed, translucent porcelain- like material against a sea-green or dark blue background (form numbers in the 2000’s) PUG - the design, made from a printed transfer under the glaze, is smooth to the touch and has a shiny finish, the design number should be stamped on the bottom of the stein along with the incised mold number (the most common mold numbers are 1526 and 1909) The name Mettlach would not be nearly so well known were it not for the artistic merit and the consistently high quality of their ware. It is not a coincidence that the manufacturer with the best designs and the best production techniques was also the most prolific producer of beer steins. The large volumes produced by Mettlach, the variety of decorative themes and techniques, the number and quality of the artists they employed, the willingness to experiment and their continual innovation -- both artistic and technical -- give ample warning: while we can analyze and theorize to great lengths, Mettlach broke more rules than they followed, and new examples continue to surface. References History of Villeroy & Boch - http://www.villeroy-boch.com/History.246.0.html?&C=GB&L=en Kirsner, Gary, 1987, The Mettlach Book, Glentiques Ltd., PO Box 8807, Coral Springs, FL 33075 Prosit, quarterly publication of Stein Collectors International, 1965 to present (numerous articles displaying growing knowledge and theories about Mettlach wares, techniques and artists). Thomas, Dr. Therese, and Post, Anton, Villeroy & Boch Mettlach 1885 - 1905, Hans J. Ammelounx, Wheeling, IL, 1975 Thieler, E. R., Making Steins in an Old Monastery, booklet reprinted by Stein Collectors International in 1971 KERAMIK 6, Buchverlag J. Büchel, Triesen/Lichtenstein (German and English | ||
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Our Calendar of Events
About This Site
We are a group of stein collectors. As collectors our interests are varied, from all types of beer steins to related items and other antiques. Collector's are after all collectors, it is a state of mind. The purpose of this Upper Midwest Society of Steinologists web-site is to find others in our community who may have an interest in collectible beer steins, to provide some basic information about steins and then feature links to where you can find more information. If you have an interest in collectible beer steins we hope you will join us.
Chapter and Verse
August Chapter and Verse now loaded. Important article include chapter news, convention update,library news, and news from the webmaster.
About Us
Founded in 1968, our club has about 35 members that meet in March, May, September and November. Meetings include stein talk and interesting speakers and usually a pot luck meal. Members come from Minnesota and across the river in Wisconsin and Iowa too. Do check the "About Us" page of this website for pictures and more..
The 2010 SCI Convention will be held September 9-11
Myrtle Beach,
South Carolina
Note: Regular registration fee has been extended to August 16!
For more information email:
Chapter & Verse
The Newsletter from the Chapter Liason for SCI. This keeps us up to date on news from President, and various officers and updated on the annual convention.
Join Us Page
We are working hard to build our membership this year and we will welcome you heartily and introduce you to many other collectors. It is a fun and interesting group.
Membership in the Upper Midwest Society of Steinologists is $10 per year. That amount is for a single or a couple. Go to our membership page if you have any questions there is a place for you to join.
SCI Stein of Month
Mettlach Artillary Stein~
by Mark Fiebrandt
This month's stein is a beautiful antique Mettlach pottery beer tankard from Germany with pewter lid and thumb lift. This early 1900's beer mug has a transfer and hand painted scene of a German artillery howitzer known as Big Bertha. Shooting out of the cannon are the words Gruss aus Essen which means, Greetings from Essen. Also in the decoration are hops vines and the Essen city crest with a double headed eagle and sword.
Essen Germany is the town of the German firm Krupp, famous for their steel production and their manufacture of ammunition and armaments. Krupp produced most of the artillery of the Imperial German Army, including its big guns. The name "Big Bertha" (German: "Dicke Bertha"; literal translation "Fat Bertha") was commonly applied to a whole variety of large-calibre German artillery guns. It started in the year 1900 where Krupp armaments factory at Essen built a 350-mm howitzer that could fire an 800 lb shell over 10,000 yards. In 1902, Friedrich Krupp died leaving the Krupp industrial empire to his elder child Bertha Krupp, the sole proprietor. Although she maintained ownership until 1943, it was impossible for a woman to exercise control over the company. Therefore, Kaiser Wilhelm II arranged for Bertha to marry Gustav von Bohlen und Halbach, a professional diplomat of a good family and a familiar figure at the Kaiser's court. He added the name Krupp to his surname and assumed executive control of the company. The big guns most likely derived their nickname from Gustav's wife, Bertha.
Read more at www.steincollectors.org
David Harr Professional Pewter Restoration
Pewter Repair Services I Offer: I can attach a lid to your stein (either your original lid, your replacement lid, or a lid from my inventory), attach a thumblift to your stein (your original, your replacement, or one from my inventory), straighten or remove dents from pewter fittings, repair/restore your original pewter lid (modeling and casting) and more. I use chemicals to age my pewter repairs, and am usually able to match or reproduce the natural patina, although this cannot be 100% guaranteed. I do not sell parts, molds, chemicals or other supplies for pewter repair. steinsetc@charter.net
Future Conventions
2010 Myrtle Beach, Sc.
2011 New England area
(Every year since 1967
SCI has hosted an
annual convention).
Okay --Bathe in Beer
If finding out how beer is produced and drinking it by the barrel load at Okotberfest or a traditional German beer hall isn’t enough, why don’t you try bathing in it?
No jokes, apparently soaking in a tub of beer has health benefits and beer spas have begun appearing in parts of Austria, Germany and the Czech Republic in the past few years.
People have been bathing in beer at Kummeroer Hof for more 13 years now and reported benefits include easing eczema and helping fungal conditions.
It sounds disgusting but the smell of the beer and the warm sticky sensation is actually strangely satisfying. Beer bathing is something that really has to be experienced to be fully appreciated and certainly takes the phrase ‘beers on tap’ to another level!
Where to stay: Kummeroer Hof is in the small town of Neuzelle. There’s not much in town aside from the spa so you may prefer to stay in nearby Frankfurt. Alternatively, you can book yourself a Berlin Hostel and make a day trip out of visiting the spa.
Chapter links
The "Links Page" contains links to other stein collecting chapters in the US and in Germany.www.steinverin.com, www.erstegruppe.com www.keysteiners.8k.com These are just a few examples for more visit our links page.
Recent Videos
History of the Munich Child
All stein collectors are familiar with the picture of a child, dressed in a cowl, with radishes in one hand, a filled beer stein in the other, smiling devilishly from a stein decoration. The saying on the stein is usually Gruss aus München, or translated, "Regards from Munich". But how many collectors know that this figure is really a semi-comic take-off of the official Munich coat-of-arms?
Here are a few historic notes about Munich, its coat-of-arms, and the Munich Child (Münchner Kindl):
The first written proof of Munich as a small settlement of monks dates from 1158 A.D. With the increase of the population, the town administration developed a constitution of the council. Soon a seal was used to prove the authenticity of town-council documents. The oldest seal of Munich, of which only fragments are left, with the presumable inscription "Sigillum Civitatis Monacensis" and the picture of a monk wearing an open hood, appears on a document of May 28, 1239.
In the course of the following centuries a number of slightly varying representations of the seal were used. But all of them show the monk with the book (of city laws) in his left hand, while his right hand with three outstretched fingers is held up. Next to most of these seals is shown a town gate and an eagle, which, in the fourteenth century, is replaced by a lion (of the coat-of-arms of the reigning dynasty of the Wittelsbachs). For some time the monk was represented in profile, later full-face and bare-headed.
Colorful representations of the town coat-of-arms go back to the fifteenth century. From then on the features of the heraldic figure began to lose their serious character, the face became more youthful, the hair sometimes even curly.
The present form of the official coat-of-arms with a monk in black cowl, (law) book and blessing in right hand, was given to Munich by the reigning king, Louis I, on September 16, 1834. 
The dirndl
The dirndl originated as a simplified form of folk costume; the uniform of Austrian servants in the 19th century (dirndlegewand means "maid's dress"). Simple forms were also worn commonly by working women in plain colours or a simple check. Originally, each village had its own style and crest. The Austrian upper classes adopted the dirndl as high fashion in the 1870s. Today, dirndls vary from simple styles to exquisitely crafted, very expensive models.
Lederhosen
Traditionally, lederhosen were worn for hard physical work, since the ywere more durable than textile clothing and easier to clean. They were widespread among German men of the Alpine and surrounding regions, including Austria, the highlands and mountains of Southern Germany. The concept of Lederhosen as quintessentially Bavarian clothing, and their use at festive occasions rather than for work, dates largely from this time.
Of Historical Interest
Featuring local landmark the
Hamm's Brewery located
near the Swede Hollow area
of St. Paul.
General Stein Info
A bit of history and other
information about
Westerwald Pottery
steins (1600-1914)
Every Site Can Use a Recipe!
German Apple Tart Recipe
This traditional German recipe for making tarts is taken from the book "Cookery" by Amy G. Richards, published by E. M. Renouf, Montreal, in 1895.
Line a flat dish with 1 pound apples, 1/4 pound sugar, 1 gill water (1/4 pint), 1 oz candied peel. Put the sugar and water in a saucepan and boil until the sugar is dissolved. Peel and core the apples, slice them, and cook them in the syrup until tender. Beat them to a pulp. Cut the candied peel into thin slices, and place them on the pastry, pour over the apple mixture, ornament with pasty, and bake in a moderate oven half an hour.
And Updated from Joy of Baking
Apple Tart: Preheat oven to 450 degrees F (230 degrees C) and place rack in center of oven. Grease (or spray with Pam) a 9 inch (22 cm) springform pan.
Crust: In the bowl of your food processor place the flour and sugar. Pulse to blend together. Add butter
and pulse until dough just begins to come together. Pat the dough onto the bottom and one inch (2.5 cm) up the sides of the pan. Cover with plastic wrap and place in refrigerator while you make the filling.
Filling: In a food processor process the cream cheese until smooth. Add the sugar and mix well. Blend in the egg and vanilla extract and process until smooth. Remove the crust from the fridge and pour in the filling. Return to refrigerator while you prepare the topping.
Topping: Combine the sugar and cinnamon in a large bowl. Toss the sliced apples in the sugar mixture. Spoon the apples evenly over the cream cheese layer and sprinkle with almonds. Place the springform pan on a larger baking sheet to catch the drips.
Bake at 450 degrees F (230 degrees C) for 10 minutes. Reduce heat to 400 degrees F (205 degrees C) and bake for 25 to 30 minutes or until golden brown (apples are soft when pierced with a fork), and filling is almost set. Remove from oven and place on wire rack to cool. Sprinkle with confectioners sugar and serve at room temperature. Leftovers can be covered with plastic wrap and refrigerated.
Makes 1 - 9 inch (22 cm) tart.
Crust:
1 cup (130 grams) all-purpose flour
1/3 cup (35 grams) confectioners (powdered or icing) sugar
1/2 cup (1 stick) (113 grams) cold unsalted butter, cut into small pieces
Filling:
One 8-ounce (227 grams) cream cheese, at room temperature
1/4 cup (50 grams) granulated white sugar
1 large egg
1/2 teaspoon pure vanilla extract
Topping:
1/4 cup (50 grams) granulated white sugar
1/2 teaspoon (2 grams) ground cinnamon
4 cups (500 ml) Granny Smith apples, peeled and cut into 1/4 inch (.6 cm) slices (about 3-4 large apples)
1/3 cup (35 grams) sliced almonds
Read more: http://www.joyofbaking.com/AppleTart.html#ixzz0wsW8I4Ji
News from Germany
Click on any article below to learn more about the latest news from Germany in English from The Local.de. Headlines are updated hourly.
