Design: Margarethe Heymann-Loebenstein, before 1929/30.
Manufacturer: „Haël-Werkstätten für Künstlerische Keramik“, Marwitz near Velten/Brandenburg/Germany, Form 190a, Dekor 233.
Stamped: underglazed blue, Haël mark, factory marks for the form and decor: 190a/ 233.
Measures: 2,76 inch (7 cm) high, 6,5 inch (16,5 cm) diameter.

_{In best state. No chips, no scratches, no discoloration.}

Bowl with three foots, faience with cream matte glaze and geometric composition in red, blue and yellow, outside and inside, molten.

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 at 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.

All write-ups to the year of the design are based on the two preserved price books from the years 1923/34 and 1929/30. The here offered bowl was offered in the second catalog. Therefore the draft was before 1929/30.

The bowl shows impressively that Margarethe Heymann was influenced by the Bauhaus, in particular by Johannes Itten and his “Vorkurs” (preclass) in the years 1921/21 and furthermore from Paul Klee and Wassily Kandinsky. The composition reminds of Itten’s exercises with geometric shapes and rich colours. In addition, the bowl saith quite the language of the technological era: Industrially produced, molten method, designed for the crowd. Nevertheless, the technical quality and formal precision of industrially produced work, in comparison to the products of other establishments, is remarkably.

The abstract designs were in this way that they could be implemented efficiently and allow also a certain variance to adjust to various forms.
The so-called "painting-girls” transferred the decors in practiced manner or with the help of a pencil sketch. Important were the correct positioning of the relevant motives, the distances and the points of contact. The personal cadence of the professional tradesmen, the "fresh" brush stroke, only the free hand could run, the liquefying of the colour, more or less randomly, were planned.
Haël ceramics were directed to a modern new life-affirming purchasing public with a sense for quality.

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:
Teapot, stoneware, Haël norma, 1930,
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,