
Every once in a while I check out different stein auction locations looking for those JW Remy steins that are still hiding from me. A couple months ago I was poking around on line, and I ran across these three tiny steins. I was intrigued so I spent more time trying to determine what they were. They looked old. None had lids and I couldn’t tell if they had ever had lids. I closely studied the amazing detail on each of them. In fact, I decided they were older rather than newer: modern copies would likely not have such great detail. It was also interesting to note that the listing stated “From the personal collection of Jack Lowenstein.” Well, that did it! I contacted the site and asked what they could do for two items. We came to an agreement on the price. Several days later UPS knocked at my front door.
Imagine my elation when I unwrapped these little gems and saw how impressive they really were. They were tiny, the Bartmankrug is only 2” tall and the other two about 1 ½”. The detail was phenomenal ( see the close-ups below ) and they looked old — I mean, really old! They were unglazed but I felt that they had been fired at a pretty high temperature: they were “rugged”, not like “soft” pottery. They were not hollow like a container would be so they obviously were not intended to contain liquids. There were no marks anywhere. Upon studying them some more, I realized that they were not molded, but hand-thrown! How did the potter get such clear detail in the design? How did he make it? Did he have a tiny potter’s wheel? He must have had special tools just to make them. But what was their purpose???? Salesman’s samples? Models for new designs? What?
What I believe is the answer to the riddle came a few weeks later. I took them to someone I hoped could give me some insight into their purpose and history. I met up with Gerd Kessler in Colonial Williamsburg where he had been invited by the Foundation as a guest lecturer on Westerwald Stoneware at a symposium on Early American pottery.
As I unwrapped them, you could see his eyes light up. He agreed that they were undoubtedly quite old (for him, meaning before 1900) and was pretty sure what they were: they were toys, possibly from the early 1800s! He also was impressed with the attention to detail in such tiny toys.
When I questioned him about how he recognized them as toys, he responded that his Great Uncle in Hoehr-Grenzhausen had made stoneware toys and sold them in the late 1800s and early 1900s and these were quite similar.
You run across the most interesting, intriguing items sometimes.
Always check out http://www.steincollectors/ .org for all your st
The Schuhplattler certainly belongs to the most characteristic of all Bavarian forms of expression. The word "Schuhplattler" has its origins in the fact that the dancer strikes the soles of his shoes ('Schuhe') with his hands held flat ('platt'). The 'inventors' were simple folk: farmers, hunters, woodsmen. It's difficult to determine the exact origin and history of the dance. "Ruodlieb", a knight's poem written by a monk at Tegernsee monastery (not far south of Munich) in the year 1050, describes a village dance featuring "leaps and hand gestures" that could actually denote an early form of the Schuhplattler. When the empress of Russia spent time in 1838 at a spa in nearby Wildbad Kreuth, the locals honored her with the performance of a dance that very closely resembled the Schuhplattler. During the dance, the boy was allowed to move however he liked to the melody of a 'Laendler' folk tune, i.e. he would make figures, leap, stomp and slap while his girl rotated in time with the music and did not join him until the waltz began. His unregimented, free 'plattling' was known as "Bavarian dancing". From about the mid-1800s onward, the Schuhplattler dance moves became increasingly standardized and "group plattln" came into its own. On July 15, 1858, a Schuhplattler dance was performed in Upper Bavaria on the occasion of King Max II's trip through the bavarian mountains. There are about 150 different Schuhplattler dances, and regional differences are evident throughout the areas in which the Schuhplattler is part of the local culture: the Koenigssee in the east to Lake Constance in the west, from the Danube River in the north to the border of Tyrolia in the south. Wherever the dance is performed, it is irrevocably linked with Bavarian tradition and genuine zest for life.
In some parts of northern coastal regions of Germany, the custom of lighting huge Beltane fires is still kept alive to celebrate the coming of May, while most parts of Germany have a derived Christianized custom around Easter called "Easter fires". |
This nice etched pottery stein celebrates the Bavarian dance Schuhplatter with perhaps Brocken mountain in the background. In Germany, Walpurgisnacht, the night from April 30 to May 1, is the night when witches are reputed to hold a large celebration on the Blocksberg and await the arrival of Spring. It is believed that stomping dances first arose in pre-Christian times-- the 700"s as a way to keep the witches and evil spirits away.
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An old tankard--it is a 1-liter, tapered, with variegated colors of mahogany and maple vertical wood sections. the lid is of maple with hand carved letters "K.K." for "Konig Karl" (perhaps King Charles I, king of Wurttemburg)
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Es war ein König in Thule, | There was a king in Thule, |


Wait a minute, I thought all Mettlach steins are German? Well, yes they are. But in this case Mettlach made two different versions of this stein, one for the USA and France, and one for Germany.


July



Thanks to Rich Cress--and it is a beauty!
This is a 1/4-liter porcelain stein, including a porcelain insert lid. Made in Germany, but done in the Limoges style of porcelain mugs (you've seen those at antique shows: always lidless, frequently marked JP with an L under the JP, and with a gold lid).