Introduction
Mettlach employed artists from a variety of artistic and vocational backgrounds, working in a wide range of artistic styles. The artists of Mettlach typically worked in residence at the factory for periods of several months or years. In some instances, entire careers were devoted to working for Villeroy and Boch. Many of Mettlach’s artists worked in their own unique styles, producing some of Villeroy & Boch’s most memorable designs.
Unfortunately, recorded information about lesser known artists is scarce because of a fire at the Mettlach factory in 1921, which destroyed most records about artists and production techniques. Despite this lack of written history, Mettlach experts have been able to identify particular artists from posters, postcards, and from existing Mettlach pieces. Some artists clearly signed their work with their full name, while others incorporated a symbol or their initials within the artwork.
Ludwig Foltz II
Ludwig Foltz II (1809–1867) was the premiere and probably first designer of beer steins and related drinking vessels for Villeroy & Boch Mettlach starting about 1842. His stein designs evolved and were remodeled into later versions that were still produced well after his death and into the twentieth century. Before being invited to Mettlach, Foltz worked as a stonemason, architect, building restorer, and sculptor. His works can be found in castles and cathedrals in Munich and Regensburg and the surrounding environs. Foltz’s signature incorporated mason iconography, and because the Catholic families of Villeroy & Boch objected, it was often removed from design before the pieces were produced. This is known because Foltz’s signature was on the drawings of the drinking vessels, but not on the vessels themselves, that he designed for the completion of the Cologne Cathedral beginning in 1842. These Cologne Cathedral Beakers and Pokals were sold with profits going to support the building of the Cathedral. They were so popular that they were copied in large numbers by other manufacturers in Regensburg and in the Westerwald.
Musical Scenes/Figures in Four Panels
Villeroy & Boch. Design attributed to Ludwig Foltz II. Musical Scenes/Figures in Four Panels, lidded stein (228), 0.5L, stoneware relief with inlaid lid, pewter, 1889.
Hunting/Figures in Four Panels
Villeroy & Boch. Design attributed to Ludwig Foltz II. Hunting/Figures in Four Panels, lidded stein (24), 1L, stoneware relief with figural inlaid lid, pewter. 1901.
Twelve Months
Villeroy & Boch. Design attributed to Ludwig Foltz II. Twelve Months, lidded stein (171), 3.2L, stoneware relief with figural inlaid lid, pewter, c.1840s-1860s.
Christian Warth
Christian Warth (1836–1890), whose works spanned both the fields of Chromolith wares and Parian sculptures. Warth invented the iconic Chromolith and etching/incising techniques that came to be the signature of Villeroy and Boch Mettlach wares of the time. A child prodigy, Warth completed his early education in Birkenfeld and then continuing his education with full-time studies at Villeroy and Boch Mettlach at the age of 15 in 1851. By the time of the 1867 World Exposition in Paris, his works completely filled the Villeroy and Boch Mettlach booth.
At the end of 1865, Warth was sent to Rome for an extensive study to enhance his knowledge and learn new techniques in decorative ceramics. When he returned home, he brought sketches of oriental geometric design techniques called “Pietra Dura” which included “Florentine Mosaic” (also referred to as “Commesso”). “Pietra Dura” encompasses work where glazed ceramic tile fragments, whole decorated tiles or thin, flat pieces of gemstones are cut, fitted, and inter-locked or embedded in a substrate with such precision that no space is visible between the elements. Upon his return to the Mettlach factory, Warth cleverly reinterpreted these techniques by using colored clay, applied in very thin layers, and compressed before firing.
Cavaliers
Villeroy & Boch. Design by Christian Warth. Cavaliers, lidded stein (1916), 2.1L, etched stoneware with figural inlaid lid, pewter, 1900.
Troubadour and Knights, Four Panels
Villeroy & Boch. Design by Christian Warth. Troubador and Knights, Four Panels, lidded pokal (1785), 1.7L, etched ceramic, 1893.
Two Ladies, Shields of German State, Prussian Eagle
Villeroy & Boch. Design by Christian Warth. Two Ladies, Shields of German State, Prussian Eagle, lidded stein (1161), 7L etched stoneware with figural inlaid lid, pewter, 1892.
Jean-Baptitse Stahl
Jean-Baptiste Stahl (1869–1932) spent his entire career at Villeroy and Boch Mettlach, working at the factory from 1895 to 1920. Stahl was inspired by Wedgwood ceramic’s “Jasperware” which was created to look like the “Portland Vase”, the foremost piece of Roman cameo glass, which can be found in the collection of the British Museum.
Stahl is best known for pioneering the technique of phanolith stoneware, which mimicked Wedgwood ceramics’ distinctive style. The phanolith technique involves a semi-translucent porcelain material being carved or gradually layered to produce a three-dimensional image. These white translucent reliefs were typically layered on a blue or green background. Stahl used this technique to produce images referencing early Art Nouveau, Renaissance, Greek mythology, and rural or pastoral life.
Working within this technique, the artist was able to create a sense of movement and three-dimensional texture in fabrics, hair, and foliage. Stahl received a Gold Medal for his phanolith method at the Paris World’s Fair in 1900, garnering international prestige for the Mettlach factory.
Three Ethereal Women in Diaphanous Gowns
Villeroy & Boch. Design by Jean Baptiste Stahl. Three Ethereal Women in Diaphanous Gowns, plaque (7052), Phanolith (porcelain relief), 1902.
Lovers
Villeroy & Boch. Design by Jean Baptiste Stahl. Lovers, vase (7027), Phanolith (porcelain relief), 1889.
Roman Scene
Villeroy & Boch. Design by Jean Baptiste Stahl. Roman Scene, vase (7018), Phanolith (porcelain relief), 1899.
Otto Hupp
Otto Hupp (1859–1949) was born in Düsseldorf, Germany. His father, Carl Hupp, was an engraver and medal maker. Otto attended the Düsseldorf Art Academy and in 1878 he left for Munich where he studied under Rudolf Seitz, a painter and illustrator. Hupp was a multi-talented artist who worked with metal, leather, ivory, wood, and stone, in addition to painting and calligraphy. Hupp had a unique illustrative style that emphasized themes and symbols associated with astrology, religion, and civic life. Some of his distinctive lettering styles ultimately lead to identifying him as the designer of many unsigned Mettlach steins and plaques.
Throughout his career, Hupp produced over six thousand heraldic emblems and figures which were reproduced on ceramics, postage stamps, wine and beer bottle labels, and banknotes. Hupp introduced the technique of combining separate etched and glazed sections to make works that had a very defined and distinct look.
Brewer Occupation
Villeroy & Boch. Design attributed to Otto Hupp. Brewer Occupation, lidded stein (2728), 0.5L, etched and glazed ceramic with inlaid lid, pewter, 1901.
Goldsmith Occupation
Villeroy & Boch. Design attributed to Otto Hupp. Goldsmith Occupation, lidded stein (2726), 0.5L, etched and glazed ceramic with inlaid lid, pewter, 1903.
Munich Child
Villeroy & Boch. Design attributed to Otto Hupp. Munich Child, plaque (2739) etched and glazed ceramic, 1902.
Heinrich Schlitt
Heinrich Schlitt (1849–1923) was born in Biebrich-Mosbach, Germany. He had a background in traditional art, having studied at the Academy of Fine Arts in Munich, Germany. He worked as an illustrator for newspapers and magazines, and began working at the Mettach factory around 1889. He is best known for his illustrations of knights, gnomes, fairies, and other fantasy creatures, and the unique sense of humor he infused into his works.
Schlitt also worked closely with the production staff to ensure his designs translated well onto the final product. A number of Schlitt’s sketches exist which include notes from the artist to the Villeroy and Boch staff suggesting modifications to the prototypes.
Knight on White Horse
Villeroy & Boch. Design by Heinrich Schlitt. Knight on White Horse, lidded stein (2764), 5.8L, etched stoneware with figural inlaid lid, pewter, 1907.
Singer with Harp
Villeroy & Boch. Design by Heinrich Schlitt. Singer with Harp, lidded stein (1008/1909), 0.5L, print under glaze, pewter, 1898.
Gnomes Drinking
Villeroy & Boch. Design by Heinrich Schlitt. Gnomes Drinking, lidded stein (1010/1909), 0.5L, print under glaze, pewter
1903.
Fritz Quidenus
Fritz Quidenus (1867–1928) was born in Czechoslovakia and eventually moved to Munich in his 20’s. He was a professional painter and illustrator known for incorporating modern, graphic styles and elements of popular art through humorous and narrative illustrations. Quidenus designed colorful, high-contrast scenes depicting everything from occupations and leisure activities, to European myths and legends. Many of his illustrations were also printed on souvenir postcards that were marketed to tourists.
Gambler’s Stein, Two Dice Players
Villeroy & Boch. Design by Fritz Quidenus. Gambler’s Stein, Two Dice Players, lidded stein (2441), 0.5L, etched stoneware with inlaid lid, pewter, 1900.
Tavern Scene
Villeroy & Boch. Design by Fritz Quidenus. Tavern Scene, lidded stein (2532), 0.5L, etched stoneware with inlaid lid, pewter, 1906.
Knight and Lady Walking
Villeroy & Boch. Design by Fritz Quidenus. Knight and Lady Walking, plaque (2288), etched ceramic, 1896.
Cavalier Holding Glass
Villeroy & Boch. Design by Fritz Quidenus. Cavalier Holding Glass, plaque (2622), etched ceramic, 1903.
Waiter Serving Wine
Villeroy & Boch. Design by Fritz Quidenus. Waiter Serving Wine, plaque (2623), etched ceramic, 1899.
Alfred Stöcke
Alfred Stöcke (1860–1948) was primarily known for his paintings of historical figures, as well as military and hunting scenes. The works he designed for Mettlach are highly-detailed compositions, and often include characters in motion in the foreground coupled with complex environments in the background. Through his intricate compositions, Stöcke was able to achieve a degree of dimensionality that is unusual among etched ceramics. He used subtle color gradients in clouds, shadows, and greenery. Stöcke is also well-known for his realistic animal designs, especially horses.
Man and Woman on Horseback
Villeroy & Boch. Design by Alfred Stöcke. Man and Woman on Horseback, plaque (2042), etched ceramic, 1893.
Ludwig Hohlwein
Ludwig Hohlwein (1874–1949) the son of a master locksmith, was born in Wiesbaden, Germany. He trained as an architect before beginning his career as a commercial artist, designing over 3,000 different posters, illustrations, invitations, and book decorations. His background in graphic design influenced his work at Mettlach, and can be seen in his use of bold outlines contrasted with sharp forms and bright colors. Elements of graphic design are even apparent in his artist mark: a rectangular symbol that cleverly Integrates his initials, L.H.
Hoch Sport
Villeroy & Boch. Design by Ludwig Hohlwein. Hoch Sport, lidded stein (3281), 0.5L, etched stoneware with inlaid lid, pewter, 1909.
Men Walking on a Winter Night
Villeroy & Boch. Design by Ludwig Hohlwein. Men Walking on a Winter Night, lidded stein (3170), 0.5L, etched stoneware with inlaid lid, pewter, 1909.
Soldier and Barmaid
Villeroy & Boch. Design by Ludwig Hohlwein. Soldier and Barmaid, lidded stein (3278), 0.5L, etched stoneware with inlaid lid, pewter, 1909.
Franz Jakob Ringer
Franz Jakob Ringer (1865–1917) was the son and grandson of master carpenters. He was a popular wood sculptor, painter, and commercial artist working on building facades, interior design, and furniture making.
Ringer is a rarity among Mettlach artists in that he often designed the entire stein, including the body shape, pewter and inlay, and artwork. Using colorful and bold imagery, Ringer borrowed stylistic elements typically found in the Arts and Crafts and Art Nouveau movements. His customary mark, simple and graphic like his illustrations, is a monogrammed initial.
Girl with Beaker
Villeroy & Boch. Design by Franz Ringer. Girl with Beaker, lidded stein (3190), 0.5L, etched stoneware with inlaid lid, pewter, 1908.
Man with Pipe
Villeroy & Boch. Design by Franz Ringer. Man with Pipe, lidded stein (3192), 0.5L, etched stoneware with inlaid lid, pewter, 1908.
Man and Woman Drinking
Villeroy & Boch. Design by Franz Ringer. Man and Woman Drinking, lidded stein (3042), 4.1L, etched stoneware, pewter, 1906.
Matthias Hein
Matthias Hein (1859–1932) began training as a modeller for Villeroy and Boch in 1873 and designed exclusively for them from 1885 to 1901. Unfortunately, not much is known about his life beyond what he produced for Mettlach. His pieces are highly detailed and make use of elaborate designs and bold color. Hein produced mosaic-style works that often feature repetitive floral designs and geometric motifs. Hein achieved this style through a complex version of etching that uses colored glazes to form patterns resembling tile floors.
Geometric Design
Villeroy & Boch. Design by Matthias Hein. Geometric Design, lidded stein (1771), 3L, stoneware mosaic with inlaid lid, pewter, 1887.
Wild Rose Design
Villeroy & Boch. Design by Matthias Hein. Wild Rose Design, lidded stein (2020), 2L, etched stoneware with inlaid lid, pewter,
1890.
Flowers
Villeroy & Boch. Design by Matthias Hein. Flowers, plaque (1676), etched ceramic, c. 1884.
(Hans) Wilhelm Schultz
Wilhelm Schultz (1859–1924) worked at Mettlach between 1885 and 1914. He designed highly-detailed etched plaques, steins with ornate borders and scroll work, and large narrative pieces that depict historical and mythological images (popular artistic themes of the )time. Historicists like Schultz often created artwork reminiscent of historical art styles, such as Ancient Greek and Roman art.