Mettlach Steins
Overview
Worldwide, beer is the second most popular drink after tea. The delight that comes with drinking beer can be enhanced with the correct vessel for quaffing. For centuries the Germans have been serving beer in mugs or flagons referred to as steins. Contemporary American beer fanciers seem to be less fastidious in their choice of drinking vessels, forsaking the traditional for glass pilsners, and in informal circumstances, drinking directly from the bottle or can.
The Germans historically have had a much different beer consuming culture, becoming more demanding of their drinking vessels. German artisans have created gorgeous and ornate steins and tankards for centuries. Even the famous Meissen porcelain factory has produced them for the nobility and wealthy merchant class. Few steins have inspired the fancy of collectors like those developed by Villeroy & Boch of Mettlach, in the Saar region of Germany. The Saar, with its access to river transportation and clay and coal was a natural place for Johann Franz Boch, a member of a family of potters, to locate his kilns in 1809. The Villeroy family, who owned other ceramics works, joined the Bochs in 1836. The business prospered with the introduction of technological advances in production techniques for the times, which included water powered potters’ wheels and clay preparation machinery. Later the factory developed a line of relief decorated steins featuring historical subjects, along with cameo decorated and print-under-glaze wares.
The Chromolith Steins
In the eyes of collectors, the Villeroy & Boch crowning achievement was the creation of the “chromolith” stein in the 1870′s. The term chromolith, or colored stone, refers to the multiple layers of colored clay etched or outlined in black to form a beautiful and a appealing design. The actual method devised to decorate the steins and other chromolith wares was kept a secret until today, and is a matter of great controversy to Mettlach aficionados. Gary Kirsner, author of the privately published Mettlach Book, believes that the design was applied and fused to the body with great heat and pressure, the white glazed interior applied separately during one of the firings. Still, the exact method for forming and coloring the design is the cause much discussion. A fire at the factory in 1921 destroyed much of the chromolith equipment, ending production, except for some limited special orders in the 1930′s.
Referred to as Mettlach steins in the trade, each one has a quality found in no other ceramic object. They range in sizes from .5 to 7 liters, with brilliant but muted designs, usually mounted with fine pewter or ceramic inlaid lids complimenting the body design. The lid (attributed to 18th century sanitary concerns) is usually joined to the ceramic handle with a unique upright cast thumbrest. The decoration runs the gamut from humorous to historical motifs inspired by Renaissance subjects. Legendary King Gambrinus of Flanders, to whom the discovery of beer is attributed, was a popular subject. Since many pieces were made for export, steins can be found with themes decidedly American. The steins bear unmistakable impressed and other bottom marks. Look for the incised tower mark with applied or impressed “Mettlach” banner, and “VB” for Villeroy & Boch. There should also be a three or four digit form number important for identification, among other numbers and letters which identify the year of manufacture, size and decorator.
The beauty of the Mettlach wares owes much to the remarkable talent and dedication of the artisans working with a complex medium. In 1898, the factory employed about 1,250 people, enjoying a marvelous lifestyle provided by a paternal employer. Gary Kirsner points out that the company offered a multitude of benefits including transportation, medical care, insurance, schools, pensions, mortgages, restaurants and parks, with concerts and a host of entertainment. The artistic abilities of the employees were enhanced by art classes and visits from important artists. This must have developed intense loyalty to the company, creating the atmosphere conducive to attracting talented artisans and to keeping the production methods a secret.
The chromolith wares, now commonly referred to as “etched” by collectors, comprised more than steins. They included beakers or tumblers, plaques, vases, punchbowls and pokals (a large ceremonial beaker with lid and foot). Since the chromoliths were made only for a short time, they can command strong prices in shops and auctions.
Referenece note by p4A Contributing Editor Bob Goldberg
For further information, see The Mettlach Book by Gary Kirsner.