SKU: 52834437638

ELFI STADLER ‘CAPRI’ VASE Nr. 4714 FOR SCHRAMBERG MAJOLIKA

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Description

ELFI STADLER ‘CAPRI’ VASE Nr. 4714 FOR SCHRAMBERG MAJOLIKAA rare, organically shaped abstract vase designed in the 1950s by one of SCHRAMBERG MAJOLIKA FABRIK's most noted and creative designers, Elfi Stadler. The bent and dented form is certainly one of her best, and is dressed in the curdled gray, white, and yellow glaze combination known as Capri. SCHRAMBERG MAJOLIKA FABRIK (SMF) was founded as Faist'sche Steingutfabrik in 1820 by the stoneware expert Isidor Faist on the grounds of the abandoned Schramberg

A rare, organically shaped abstract vase designed in the 1950s by one of SCHRAMBERG MAJOLIKA-FABRIK's most noted and creative designers, Elfi Stadler. The bent and dented form is certainly one of her best, and is dressed in the curdled gray, white, and yellow glaze combination known as Capri.


SCHRAMBERG MAJOLIKA-FABRIK (SMF) was founded as Faist'sche Steingutfabrik in 1820 by the stoneware expert Isidor Faist on the grounds of the abandoned Schramberg castle in the Middle Black Forest region of southwest Germany. By 1829 the factory had acquired the good repute necessary to convince Baron Ferdinand von Uechtritz to join Faist under the new name Steingut und Majolikafabrik Uechtritz & Faist. With the Baron's financial backing, the partners were able to build a new factory behind the castle and to drastically increase output. During the 1860s, the company maintained a workforce of 100 people. An impressive 6,000 home workers—e.g., decorators—mainly women and children, were also employed.

In 1882 SCHRAMBERG began fulfilling orders from Villeroy & Boch, who would buy the factory outright the following year. It continued to operate as a V&B subsidiary into the early 20th century. When several buildings had to be demolished in 1911 to make way for a local railway, severely reducing output, Villeroy & Boch lost interest in the location. In 1912 it was sold to brothers Moritz and Leopold Meyer. The Meyers gave the firm its enduring name, SCHRAMBERG MAJOLIKA-FABRIK, and introduced the "SMF" mark. In 1918, the business was reorganized as a limited liability company (GmbH).

The Meyer brothers were always looking for new talent, and many famous artists joined the factory or contributed designs in the ensuing years. The Jewish-Hungarian designer Eva Zeisel (née Striker, 1906–2011) was a prominent force at SCHRAMBERG during the final years of the 1920s. She was much influenced by the Bauhaus movement, and her modern form and décor designs with their clean, sensuous lines leant an avant-garde appearance to a significant portion of the program. Zeisel sometimes felt that the firm's art department ignored her intended shape and decoration pairings; this was a particular problem with her wildly popular Mondrian décor, which was often applied to forms that other modelers had created. SCHRAMBERG continued to produce Zeisel's designs, or variations thereof, for some time after she left the firm. (On a biographical note, Zeisel would land in jail in the Soviet Union in 1936, falsely accused of involvement in a plot to assassinate Stalin. She only just made it out of Austria to England on the eve of the Nazi invasion.)

With the dawn of the Great Depression, the production focus shifted exclusively to utilitarian ceramics. In 1938 the Meyers, being Jewish, were compelled by the Nazis to sell the factory as part of Germany's forced Aryanization. The following year the brothers emigrated to England with their families. In 1949, Moritz's son Peter Meyer (1922–1980) returned to Germany. His family was allowed to resume control of the business.

The first post-war generation was naturally focused on restoring the damaged factory, but happily, by the beginning of the 1950s, decorative ceramics had regained their former market share. Sophisticated glazes developed by the ceramic director Josef Saradeth and the temporary resumption of the stylized floral décors from the 1920s contributed to the recovery. New designs came from Ingrid Helmbrecht-Witzer and the longstanding senior painter Ferdinand Langenbacher, who had been with SCHRAMBERG since 1918. Other mid-century notables who worked for the company include the engineer Peter Ernhofer and designer Solveig Eriksen.

The highly qualified Elfriede "Elfi" Stadler (1930-1968) joined the firm in 1953. She would build on the Art Deco legacy of her distinguished predecessor, Eva Zeisel, and orient the firm's production toward the modern stylistic tendencies of the time. An Austrian, Stadler received her education at the Vienna University School of Arts and Crafts under the tutelage of ceramicist and sculptor Robert Obsieger (1884-1958). Her forms and décors would determine the appearance of SCHRAMBERG MAJOLIKA products until her departure in 1963. She was noted for experimenting with idiosyncratic shapes, some of which suggest that they were the result of an accident—being bent, curved, and dented. Stadler's really weird shapes are much coveted by enthusiasts and hard to find in collectibles markets. She died very young, 38 years old, but nevertheless remains a luminary in the history of German ceramics.

In 1970 Peter Meyer took over SCHRAMBERG MAJOLIKA as sole owner and continued the work of his father and uncle for another decade. He died from complications after a heart attack in 1980. The factory was afterwards led by various managing directors, among them Peter’s widow, Julie Luise Meyer (1929-2020), with only limited success. Some SCHRAMBERG workers would say that the heart and soul of the facility had died with Peter Meyer. In 1989, the factory was finally closed, and the area was cleared to make room for new industry.


IDENTIFICATION: Products made of plain white limestone earthenware typically bear the company mark and often also the décor name and a four-digit form number under a transparent glaze. Occasionally three-digit form numbers can be found. A red clay series produced between 1956 and 1959 has neither markings nor form numbers. A significant part of the production was for export, mainly to the UK and Scandinavia and to a lesser degree the US. In-country, products were distributed via notable retailers and sold through department stores and mail-order companies.

Beautiful things make people happy. — Eva Striker Zeisel


DETAILS

Maker – SCHRAMBERG MAJOLIKA-FABRIK

Production Period/Year – 1950s

Designer – ELFI STADLER

Design Period/Year – 1950s

Origin – WEST GERMANY

Styles/Movements – ABSTRACT; MID-CENTURY MODERN

Materials – CERAMIC

Colors – GRAY, WHITE, YELLOW

Condition – Excellent vintage condition. No imperfections. May show minor traces of wear consistent with age and use.

Dimensions – 4 ½" DIAM. × 7" H

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SKU: 52834437638

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4.9 ★★★★★
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viplarry
Bozeman, US
★★★★★ 5
Decent Monitor Stand with Some Assembly Required
Size: Single, Style: Free-Standing
This monitor stand works pretty well and is a good value for the price. It’s sturdy and adjustable, which makes it perfect for a variety of monitors, including my 32-inch curved Samsung. The assembly is straightforward if you have a Phillips screwdriver and something to tighten bolts, like a wrench. It’s solid once it’s put together and holds my monitor securely. The phone holder could use some improvement. It doesn't adjust to face me directly, which is a bit annoying. The stand itself is great for saving desk space and providing better ergonomics, but it can be a bit of a hassle to assemble if you’re not handy with tools. Overall, a good buy if you need a reliable monitor stand.
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Reviewed in the United States on October 25, 2024
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sirav
Omaha, US
★★★★★ 3
Works, Good product, but wouldn't recommend for specifically 3 27inch screens.
Size: Triple, Style: Free-Standing
I purchased this stand to have 3 27inch 2560x1440 monitors, with the side ones angled towards me in a typical 3-monitor setup often seen being used by racing or aviation simulator guys. This stand's arms for the two side monitors are not long enough to have said monitors angled more than 5 to 8 degrees meaning they are forced to be completely linear which is incredibly awkward to try to use because you can barely see or use the screen space on the far edges. 𝐖𝐢𝐭𝐡 𝐭𝐡𝐞𝐬𝐞 𝐬𝐢𝐳𝐞 𝐬𝐜𝐫𝐞𝐞𝐧𝐬, 𝐭𝐡𝐞 𝐨𝐧𝐥𝐲 𝐰𝐚𝐲 𝐭𝐨 𝐡𝐚𝐯𝐞 𝐞𝐯𝐞𝐧 𝐨𝐧𝐞 𝐚𝐭 𝐚𝐧 𝐚𝐝𝐞𝐪𝐮𝐚𝐭𝐞 𝐚𝐧𝐠𝐥𝐞 𝐟𝐨𝐫𝐜𝐞𝐬 𝐭𝐡𝐞 𝐨𝐭𝐡𝐞𝐫 𝐦𝐨𝐧𝐢𝐭𝐨𝐫 𝐭𝐨 𝐛𝐞 𝐢𝐧 𝐩𝐨𝐫𝐭𝐫𝐚𝐢𝐭 𝐦𝐨𝐝𝐞, 𝐤𝐢𝐧𝐝 𝐨𝐟 𝐦𝐞𝐬𝐬𝐢𝐧𝐠 𝐮𝐩 𝐭𝐡𝐞 𝐰𝐡𝐨𝐥𝐞 𝐩𝐨𝐢𝐧𝐭 𝐨𝐟 𝐛𝐮𝐲𝐢𝐧𝐠 𝐭𝐡𝐢𝐬. The product description should not say it can hold 3 27 inch screens because the amount of struggling I had to do to get it to be acceptable was ridiculous. The stand is... not heavy enough to safely hold monitors of this size either, and additional weight was required ( 2 10lb dumbbells in my case ) configuring the height of your monitors with this stand can be dangerous as well as they could fall down the central post so you have to be extremely careful, but, it is pretty easy other than that. It is a great option if you don't have a desk with an edge for typical stands ( I don't. ) You can place the stand anywhere, and you don't have to drill through your desk if you really don't want to. The cable clips are a very nice included bonus, and they sent me a replacement without any hassle when I totally effed up my first attempt at setup. But, I would have shopped harder and got something else if I knew all this prior all the same. Maybe even bought a gigantic curved screen instead.
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Reviewed in the United States on January 8, 2025
D
Verified Purchase
Dr. Dean
Lowell, US
★★★★★ 5
Everyone likes the extra outlets and spacing!
Size: 6ft, Color: Yellow
I have a livestream desk shared by a team where we have lots of equipment. We were always running out of outlets and the team had nothing but praise when I installed this 16 outlet replacement. The spacing is perfect for a variety of bricks, plugs and adapters of all sizes. It's metal construction seems very durable and it's easily to mount it solidly to the wall with the wings at each end. The power cord is sufficiently beefy and lighted switch at one end a plus. Overall, we're very happy with its design, capability and value. The extra praise for doing a simple replacement was nice too!
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Reviewed in the United States on December 21, 2025
J
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Joseph Espi
Louisville, US
★★★★★ 5
Heavy-Duty Power for Any Workshop or Garage
Size: 6ft, Color: Yellow
I recently upgraded my workspace with the JUNNUJ 16-Outlet Heavy Duty Power Strip, and it has completely transformed how I manage tools and electronics in my garage. Why It Stands Out: Ample Outlets With 16 wide-spaced outlets, it accommodates bulky plugs, adapters, and chargers without blocking neighboring sockets. Perfect for workshops or garages where multiple tools run simultaneously. Durable Construction The full metal housing gives it an industrial-grade feel, and it can handle heavy-duty equipment without bending or warping. Unlike plastic strips, this one feels built to last. Safety First Equipped with surge protection and grounded outlets, it keeps both tools and electronics safe. I feel confident plugging in expensive power tools or charging devices without worrying about power spikes. Practical Length The long cord allows me to reach multiple corners of my garage without needing extension cords, reducing clutter and tripping hazards. Professional-Grade Design Wide-spaced, high-capacity, and metal-built — this is clearly designed for industrial or garage use, not just casual household tasks. It’s heavy-duty without being overcomplicated. Minor Considerations: It’s larger and heavier than standard power strips, so it needs a stable mounting spot or surface. Price is higher than a typical household strip, but for the durability and outlet capacity, it’s worth it. Bottom Line: The JUNNUJ 16-Outlet Heavy Duty Power Strip is a powerhouse for garages, workshops, or any space with multiple high-demand devices. Durable, safe, and highly practical, it’s a must-have for anyone who needs reliable industrial-grade power management.
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Reviewed in the United States on November 19, 2025
J
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Jesse J. Medina
Massapequa, US
★★★★★ 5
Reliable and affordable
Size: 6ft, Color: Yellow
Great electric plug extension
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Reviewed in the United States on April 13, 2026

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