Design: Margarethe Heymann-Loebenstein, 1923/24.
Manufacturer: „Haël-Werkstätten für Künstlerische Keramik“, Marwitz near Velten/Brandenburg/Germany, Form- and Dekornumber: 1.
Stamped: underglazed blue, Haël mark, factory marks for the form and decor: 1.
Measures: 2 inch (5 cm) high, 8,1 inch (20,6 cm) diameter.

_{In very good state related to the age. Minimal, barely visible chips, no scratches, no discolouration.}

Moulded bowl, stoneware with cream matte glaze, coloured bands in blue, yellow and green, composition of semicircular and straight lines and dots in blue and yellow, outside and inside different, 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 first catalog. Therefore the draft was before 1923/34.

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 rhythm and colour gamut evokes the studies of Itten’s special preclass. The decor composition follows the free expression and sensibilité of the artists personality, but is the result of an exact design. All of the relevant motives, their distances and their points of contact were precise set and adapted for industrial production.
The personal cadence of the free-hand drawn lines points the product still as an artisan's work.

Haël ceramics were directed to a modern new life-affirming purchasing public with a high sense for quality in form and decor.

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, faience, before 1929/30,
Bowl, stoneware, before 1929/30,
Teapot, stoneware, Haël norma, 1930,
Vase, stoneware, before 1929/30,
Big vase glazed, stoneware, before 1929/30,
Little vase glazed, stoneware,
Vase, double-pumpkin-form, before 1929/30,