Design: Margarethe Heymann-Loebenstein, 1930,
Manufacturer: „Haël-Werkstätten für Künstlerische Keramik“, Marwitz bei Velten/Brandenburg, produced until 1933, afterwards produced and signed by „Hedwig Bollhagen Werkstätten“.
Material: stoneware, engobe,
Marked: underglazed: „Haël norma“, ligature “Haël” + “n“
Measures: Height: 6,5 inch (16,5 cm), diameter 10,2 inch (26 cm).

_{In best state.}

The „Haël-Werkstätten für Künstlerische Keramik“ (translated as: Haël-workshops for artistic ceramics) were founded by Margarethe Heymann-Loebenstein in Marwitz by Velten/Brandenburg in 1923, held to 1933.
The characteristic company logo "Haël" was derived from the initials of the name Heymann-Loebenstein, spoken "H" and "L", with the Trema on the "e".
With the seizure of power by the national socialists Margarethe Heymann-Loebenstein was forced on the sale of her workshops because of her Jewish descent. Her ceramics were classified as degenerate and the workshop became aryanized in 1934. Hedwig Bollhagen took over the manufacture.

Margarethe Heymann-Loebenstein was a student of the Weimar Bauhaus in the first generation, continued her training in the ceramic-workshop in Dornburg, which was leaded by Gerhard Marcks and Max Krehan. For a short time she was employed as a designer at the stoneware manufacture Velten-Vordamm, leaded by Dr. Hermann Harkort.
Within a few years the Haël-Werkstatten grew up in Germany and abroad to a renowned manufacturer. The company was included in the membership of the German Werkbund.
The only one decade producing, the "Haël-Werkstatten" have revitalised the manufacturing of stoneware substantially.
During the time of the Weimar Republic these ceramics mediated in Germany the standards of the Werkbund and the aesthetics of the Bauhaus.

With the „Haël norma“ Haël responded to the changed economic situation in 1930. In these economically difficult times, dominated by eclecticism and fashionable Design, a standardized, low-priced crockery was especially necessary. "Norma" has a timeless design. It convinced by its balanced proportions, his clear and simple forms, its functionality, a friendly yellow, its high qualitative processing and not least its price.
An utopian idea of the German Werkbund became realized: nice and good commodities for everyone.
It was a last great victory for the material and formal quality of stoneware, which was so long regarded as inferior to porcelain.
In 1930 the stoneware had definitively emancipated from porcelain with its modern forms and its colours.

Finally, „Haël norma“ influenced even the porcelain industry.
In the history of modern design the crockery war the prelude to a series of cockeries, called „Reform“, „Fortschritt“ (progress), „Zeitlos“ (timeless) and „Standard“, which claimed universal right at the beginning of the 1930s. With the drafts of Hennig, Petri, Friedländer, Gretsch and Wagenfeld the porcelain industry sought the connection to the modern style of the stoneware. Hedwig Bollhagen offered "norma" still up in the 1960s with her name.

Cp et al.: H. Rezepa-Zabel: Haël, in: Sammler Journal, Nov. 2011, p.38-47.

Other objects from “Haël-Werkstätten für Künstlerische Keramik“, Margarethe Heymann-Loebenstein -Marks:
Bowl, geometric decor, faience, before 1929/30,
Bowl, blue glaze, stoneware, before 1929/30,
Vase, stoneware, before 1929/30,
Little vase glazed, stoneware,
Big vase glazed, stoneware, before 1929/30,
Vase, double-pumpkin-form, before 1929/30,
Bowl, 1923/24,