An Unlikely Result of the Black Death

 

QUESTION: My family is German by descent. And being so, my grandfather assembled a collection of German beer steins. He left them to me. Rather then just have them sit on a shelf, I’d like to grow the collection. I don’t know anything about antique or even vintage steins and would like to know more before I purchase additional ones. How did steins originate? When were the first ones produced? And how can I tell if a stein has value? 

ANSWER: Those are all good questions. I’m glad to see that you’re interested in curating your grandfather’s collection rather then just packing the steins away or selling them off. 

Believe it or not, German beer steins have a very unlikely and surreal origin. Originally, the Germans produced beer steins to combat health issues that triggered the Bubonic Plague, also known as the Black Death which killed over 25 millions Europeans. Around the same time, hoards of flies began invading central Europe in the late 1400s. The fly invasion, combined with the plague, resulted in Germany passing sanitary laws that required all food and beverage containers to have lids to protect people from the insects.

Strict laws enforcing sanitation on the ingredients, transport, and quality of beer led to a great improvement in the taste of German beer. This made men value beer steins, thus wanting to own their own unique steins. The beer stein became a status symbol and display piece for German families each displaying its family crest.

Beer steins are a popular symbol for both Germany and beer. They come in all kinds of shapes, sizes, and materials, including earthenware, metal, pewter, wood, ivory, ceramic, porcelain, crystal, creamware, silver, and glass. Most have handles, a hinged lid and are decorated or hand-painted.

The decorative elements of beer steins may represent traditional motifs, regalia, a coat of arms, or depict a person’s occupation. Some are embellished with three-dimensional artwork and touch on a theme. You may also find a collectible series of beer steins with themed artwork or antique steins with engraved dates to commemorate a special occasion.

The earliest antique German beer steins date to the 14th century, a time when earthenware was being improved, Germany was making new and improved brews, and Europe was ravaged with the bubonic plague.

From the 14th to the 17th centuries, German potters added salt, cobalt oxide blue, manganese oxide purple, and chocolate salt glaze to their steins. To go beyond simple decoration, they applied relief decorative shields, as well as historical, figurative, and Biblical scenes.

Beer steins evolved as a result of the laws passed in several German principalities stating that covers had to be on all beverage and food containers. The laws, and others related to sanitary conditions, were in reaction to the fear that a recurrence of the bubonic plague, also called the Black Death, would be caused by several invasions of flies throughout Central Europe in the mid to late fifteenth century. Up until that time, most common folk drank beer from mugs made of porous earthenware or wood. The well-to-do and upper class drank from glass, pewter or silver vessels, called beakers or tankards.

Stein is a shortened version of the word steinzeug krug, which means stoneware, tankard, or jug in German. A stein was just one of a variety of beer drinking vessels. The word transformed into staene, meaning jug in Old English. The English version, stein, appeared in 1855. In common usage, stein referred to any beer vessel with a hinged lid and handle.

Germans originally drank beer in mugs, but once the sanitary laws passed, these mugs came with a hinged lid with a thumblift. This ensured the mug could not only stay covered but could also be used to drink out of using only one hand using the thumblift.

Once the 16th century began, regulations regarding the quality and transportation of German beer resulted in better tasting beer and a variety of steins. The improved beer brought patrons to taverns, as well as the desire to own a personal stein.

By the mid-17th century, German beer and stoneware beer steins were in high demand. The elite members of the German society wanted elaborately decorated steins made of silver, pewter, or glass which were made in Bavaria, Koblenz and Koln.

As personal steins became more popular, Germans wanted durable but inexpensive containers out of which to drink their clean beer. Stein makers began searching for better materials. Eventually, they created stoneware which proved to be a superior material that was chip-resistant and non-porous. It was the perfect component for a container that needed to meet sanitary conditions.

Artisans began decorating tankards with scenes depicting towns throughout southern and Western Germany, like Heidelberg and Rothenburg. They also created artistic scenes that captured biblical, allegorical, and historical events.

By the late 18th century, the covered-container laws had run their course, but because the Germans had covered their beverages for three centuries, lids became an integral part of all steins. 

The 18th-century trends continued to rise in popularity. The Bavarians had over 4000 breweries, and stoneware production increased into the late 1700s.

European porcelain started affecting stein-making in the 1720s, but these steins were expensive, so only wealthy Germans could afford them.

Just as steins improved, so did the beer. Most people considered beer to be an effective medicine. It was also safer to drink beer than water due to its sanitary production process.

As wars and rebellions decreased the wealth and power of the aristocrats, so stein makers began looking to the middle class as their target market and made products to fit their lifestyles.

Cylindrical pewter steins became popular, and especially those with stamped or engraved folk art designs. The wealthy still preferred porcelain beer steins with Baroque decorations. But by the early 19th century, most Germans preferred pewter steins for everyday use.

By 1850, beer steins featured Renaissance motifs and relief decorations. They also had inlaid porcelain lids. 

Stoneware became popular once again after 1850. Makers used molds instead of the expensive and labor-intensive handbuilt process. Although more affordable and convenient, the molded tankards were no longer considered authentic German beer steins, as they were being mass-produced.

Moisture-absorbing plaster molds helped porcelain stein producers make unique shapes and the lithophane scenes that are commonly found on the bottom of porcelain steins.

Classically trained artists from the Mettlach factory introduced Renaissance motifs into their line of relief steins. They experimented with clay and glazes, which led to colorful mosaic and etched beer steins. People loved these beautiful creations so much that even laborers were willing to spend their week’s pay for one of them.

The German beer steins produced from the mid-19th to early 20th century saw a resurgence in the popularity of stoneware steins decorated with Renaissance designs and motifs. These steins were made using clay from the Koln area, which has a distinctive white color. They were 

decorated in the Renaissance style, often having relief decorations and colored them colored them using a gray salt glaze, topped with lids of inlaid porcelain

The 20th century witnessed a decrease in Classical designs. Instead, people favored scenes depicting towns, social scenes, military commemorative, and occupational emblems. These kinds of motifs felt more common but personal to the individual. To meet the demands, pottery makers entered the scene and started making stoneware and glazed pottery beer steins.

The newest art style, Art Nouveau, grew a small but dedicated audience in early 1900, but by 1910, the political and economic landscape turned the stein-making industry upside down. World War I demanded that the materials used to make beer steins be converted for ammunition production. 

The first molded steins were made in the region of Westerwald by Reinhold Hanke. Once molds were used and beer steins were being mass produced, the beautiful highly detailed carved relief work of the early steins was no longer unique.

Beer steins come in a range of volumes, from one ounce to eight gallons. Steins most commonly fall in the 16.9-ounce range. Steins can sell for under $50 or over $5,000, but many sell in the $100 to $500 range.

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Elephant Mugs and More

QUESTION: I recently bought a small mug in the shape of an elephant at a monthly flea market. It has GOP 1968 embossed under the top edge. On the bottom it says "Frankhoma" What can you tell me about this cute little mug?.

ANSWER: The mug you found was a souvenir of the Republican Party Women, created by John Frank.

After graduating from the Chicago Art Institute, John Frank moved to Norman, Oklahoma., in 1927 to establish the first Ceramic Art Department at the University of Oklahoma. In 1933 he started his own pottery company to create a line of fine art ware and sculpture that ordinary people could afford to buy. A year later, Frank's wife, Grace Lee, suggested the company name should incorporate both their family name and the last letters of their state, thus the company officially became Frankoma Pottery.

The Franks and their new business moved about 20 miles south of Tulsa to Sapulpa in 1938, but soon hardship followed. Their first building, constructed partially by Grace's father, burned down shortly after their arrival. Despite the economic hardships caused by the fire and the Great Depression, the Franks followed their vision and rebuilt.

Instead of reissuing early sculptures, such as figurines, ashtrays and vases, the Franks decided to make bookends, candleholders, wall vases, face masks and plaques following the fire. Frankoma also became the pioneer in colored tableware with bold designs in vibrant Southwestern colors such as Prairrie Green and Desert Gold. From 1942 until 1988 Frankoma created a line of wagon- wheel dinnerware that became its signature product. The Pottery also produced dinnerware in other patterns, including Mayan-Aztec, Plainsman, Lazybones, and Westwind.

In 1968 John Frank designed an elephant mug as a fundraiser for the National Republican Party. The following year it became a collectible series. The Frank’s daughter, Joniece, designed the first Democrat donkey mug in 1975. The company produced other collectibles,  including 14 Teenagers-of-the-Bible plates issued from 1972 until 1982 and Christmas plates,  first issued in 1965. From 1955 until 1967, Frankoma also manufactured earrings, pins, and tie clasps and the bolo tie designed by John Frank, who had received an award for jewelry design in 1927.

The type of clay and trademarks help collectors identify old and new Frankoma pieces. John Frank experimented with many types of clay from different areas of Oklahoma. From 1933 until 1954 he used tan clay found near Ada, Oklahoma. Collectors now call pieces made with this clay Ada Clay.        

In 1954 he switched to a brick red firing clay located a few miles from the factory in an area known as Sugar Loaf Hill. Collectors call this Sapulpa Clay Pre-1980. In the 1980s, additives affected the red brick color of the clay, and it became either a light pink or a light orange. Collectors refer to this as Sapulpa Clay Post-1980. The changes in the clay also affected the color of the glazes. Today, Ada clay pieces are generally worth the most.

Collectors today regard the pieces with Frank's initials "JNF" or '"JF” as the most desirable. During 1933 and 1934, Frank marked his firm’s wares with one of three marks—“FRANK POTTERIES NORMAN OKLAHOMA,” “FRANK POTTERIES NORMAN OKLA” or “FRANK POTTERIES.” It wasn’t until he incorporated Frankoma Potteries in February 1934 that he used a rubber stamp with the of the word “Frankoma.” He didn’t use it for long, so it’s quite rare. From late 1934 until 1954 the company used an impressed mark.

Frank also used what collectors call the cat mark from 1934 until it was destroyed in the 1938 fire. Known as the “Pot and Puma” logo, it was the company's first trademark and featured a large ceramic vase with a Taylor pacing cat in the foreground. It can be found on larger pieces. After he rebuilt the company after the fire, Frank again used an impressed Frankoma mark but this time the “O” was oblong, and not round. This Frankoma mark continued to be hand impressed until the early 1950s when the trademark was often inducted in the mold along with the mold number. However, some of the pieces made at this time had no marks since Frank never modified their molds. He often personalized pieces he gave as gifts to friends, family and special customers. His etched message and signature is definitely the most valuable mark.

After Frank’s death in 1973, his daughter Joneice took over, but in September 1983, fire once again claimed the Frankoma Pottery. The following year, after reopening, she had to declare bankruptcy. Two more owners took over the molds and tried to keep the pottery going, but in 2011, the company finally went on the auction block.

What’s Up with Watt?

QUESTION: I have some pieces of kind of folksy pottery sitting on a shelf in my kitchen. My mother, who had given them to me, said they belonged to my grandmother. It seems that during the 1950s she picked them up at the grocery store as premiums. She began with coffee mugs and then added a pasta bowl and covered casserole dish. They all have the word “Watt” embossed into the clay on the bottom. Can you tell me anything about these pieces?

ANSWER: Your pottery pieces came from the Watt Pottery of Crooksville, Ohio. They’re highly collectible and today bring relatively high prices.

The Watt family of Perry County, Ohio opened the Watt Pottery in July, 1922 on the site of the old Burley Pottery in Crooksville. Through the remainder of the 1920s and into the early 1930s they made stoneware butter churns, crocks, jugs, and preserve jars, which they marked with an acorn or an eagle  stamped in blue, plus how many gallons the vessel would hold marked in a circle on the bottom.

But the introduction of oven ware pottery, enabling cooks to take a container from their ice boxes and put it directly into their ovens, forced the Watt pottery to discontinue its stoneware line and pursue the more lucrative oven ware.

The lightweight clay body, made of a percentage of feldspar and whiteners which prevented the clay from discoloring after firing in the pottery kilns, also made it resilient enough to withstand the extremes in temperature. The whiteners also gave the Watt’s pottery its brightness, especially when over painted with brightly colored motifs featuring apples, cherries, roosters, and flowers..

In 1949, the Watt Pottery began hand decorating its wares using simple patterns in bright colors on an ochre-colored clay base. To minimize the cost of producing these wares, teams of three decorators used  as few brush strokes as possible. The housewives of the 1950s loved the country charm of these wares. And because they were so inexpensive to produce, Watt wares began appearing as premiums in grocery and department stores.

Altogether, Watt Pottery produced wares decorated in 16 patterns, including four variations of the Apple Pattern, one in the Cherry Pattern, two of the Tulip Pattern, six in various flower patterns, plus Autumn Foliage and Eagle Patterns. The pottery remained in business until a fire in 1965 destroyed the manufacturing plant and halted production.

Most pieces of Watt Pottery ovenware feature large marks, often covering the entire bottom of each piece. These markings usually consist of one or more concentric rings deeply impressed into the bottom of the pottery. Although the company didn’t mark all of its wares, the bottom mark associated with 1940s Watt ware is an impressed: "MADE IN U.S.A."  Pieces may also be marked: "Oven Ware" or simply have the bowl size impressed, usually in a circle.

The pasta bowl your grandmother purchased back in 1952 is now worth nearly $100, and the covered casserole dish comes in at $150. But the big surprise are the coffee cups, now worth a whopping $200 each!