SKU: 83711945900

RARE RUSCHA KERAMIK “ROCKET“ FORM VASE Nr. 826

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Description

RARE RUSCHA KERAMIK “ROCKET“ FORM VASE Nr. 826A beautiful rocket form vase designed by Kurt Tschorner for Ruscha Keramik in the deepest glossy blue black i have ever seen. it is tipped with a ring of white and blue lava at the very top and stands just over 9. 25 inches tall. There is a factory glaze skip on the inside of the lip (see photo) it is not a chip. RUSCHA KERAMIK launched in 1948 when Rudolf Schardt assumed the management of Klein & Schardt, his father Georg's ceramics factory in the

 

A beautiful rocket form vase designed by Kurt Tschorner for Ruscha Keramik in the deepest glossy blue/black i have ever seen.  it is tipped with a ring of white and blue lava at the very top and stands just over 9.25 inches tall.  There is a factory glaze skip on the inside of the lip (see photo) it is not a chip.

RUSCHA KERAMIK launched in 1948 when Rudolf Schardt assumed the management of Klein & Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia.  (RUSCHA is a syllabic abbreviation of his name.)  The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom.  RUSCHA KERAMIK became a leading manufacturer during the "golden age" of Western German ceramics and is credited with some of the era's key developments.  It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape.  Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.

RUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases.  Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes.  When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.

Notes on identification:  White clay was used practically exclusively.  The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out.  Embossed and incised base-numbering was used for vessels.  If a vase was made in more than one size, a single digit indicating relative size followed the form number.  Low form numbers (< 100) were sometimes preceded by a letter.  Like a few other manufacturers RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors.  Pieces were never molded with "Germany" or "West Germany."

In rare instances, bases were hand-inscribed—less often, painted—with the name RUSCHA and a décor name (these tend to be earlier 1950s items).  Where stickers are found they always read "Ruscha Art."  Many items were not stickered.  Sometimes a retailer's label was applied.

 

KURT TSCHÖRNER is probably best known for the ceramic forms he designed for RUSCHA, particularly the iconic jug vase no. 313 (1954)—considered to be among the very best shapes to have emerged from the post-war German ceramics industry.  Tschörner's tenure with RUSCHA was prolific. When its arts director Otto Gerharz left to form a company of his own, OTTO KERAMIK, Tschörner went with him.  Together they were responsible for the production of all ceramics and glazes well into the 1980's.

Designer KURT TSCHÖRNER
Manufacturer RUSCHA KERAMIK
Design Period 1970 to 1979
Production Period Unknown
Country of Manufacture Germany
Identifying Marks This piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources
Style Vintage, Mid-Century, Minimalist, Modernist, Space Age
Detailed Condition Excellent — This vintage piece is in near original condition. It may show minimal traces of use and/or have slight restorations.
Product Code
Restoration and Damage Details One factory glaze skip on the inside of the lip
Materials Ceramic
Color Navy blue, white
Width 4.5 inch
Depth 4.5 inch
Height 9.3 inch
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SKU: 83711945900

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Katie
Lake Worth, US
★★★★★ 2
Book arrived damaged and ripped
Format: Paperback, Format: Paperback
Book arrived on time but unfortunately it was damaged and ripped with a sticky residue in the back cover. Not worth buying new if the book comes in poor condition.
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Reviewed in the United States on January 8, 2023
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Monique'
Grantham, US
★★★★★ 5
BD
Format: Paperback
Needed this book for school. It came on time and was great!
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Reviewed in the United States on November 5, 2025
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Christopher Warnock
Boise, US
★★★★★ 5
Value of Alternative Viewpoints
Format: Hardcover
I was pleased to see the new complete translation of Picatrix by Dan Attrell and David Porreca released in the Magic in History Series of Penn State Press. Picatrix is central to European astrological magic that it deserves an academic treatment. In addition, the willingness of Penn State Press to release a complete translation of Picatrix shows how things have changed in the past decade and the yeoman work done by mages such as Austin Coppock, Alexander Cummins and Cliff Low to delve deeply into astrological magic. As the translators point out at page 2 this version of Picatrix is, "specifically intended for students and scholars of the history of science and magic" In addition to the complete text of the Latin Picatrix in English translation the translators provide useful historical accounts of the pre-history of Picatrix and of the Latin text, Picatrix's exposition of the path of the sage, the use of the terminology nigromancia for astrological magic and the cosmology of Picatrix. Most interesting is a statistical breakdown of the types of magic in Picatrix. Finally, the translators elucidate their view of the importance of psychoactive drugs in ritual, though the translators insist at page 28 that they do not, "wish to suggest that all magic in the Picatrix can be explained away as drug addled delusion…" Coming as it does from an academic perspective, focused on history and social science the Attrell and Porreca translation provides a valuable orientation and background for the contemporary practitioner of astrological magic. No single translation can do justice to a work as complex as Picatrix and anyone who is serious about astrological magic or interested in Picatrix should certainly get a copy of the Attrell and Porreca translation as well as the Greer and Warnock Picatrix and the forthcoming Arabic Picatrix translation.
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Reviewed in the United States on February 12, 2019
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Joshua
Bozeman, US
★★★★★ 5
Really cool book.
Format: Hardcover, Format: Hardcover
I admire people who can do this kind of work. There’s a typo on p290.
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Reviewed in the United States on February 15, 2025
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Jabba
Belleville, US
★★★★★ 5
Crazy Interesting
Format: Hardcover
This is one important book. Madness to help us escape contemporary madness?
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Reviewed in the United States on October 1, 2025

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