Majolica in the Movies: The Tin Drum

The Tin Drum is one of the stranger films I have seen. Having seen it in the theater it during its first run in 1979 I was completely unsettled by it. Having seen it again recently, I can’t say my experience has changed very much. A German production in the German language directed by Volker Schlöndorff, it is an adaptation of a Günter Grass novel. It was a big hit internationally on its release winning the Palm d’Ore at the Cannes Film Festival and an Academy Award for best Foreign Language film, though its subject matter caused widespread censorship both in and outside of the United States.

Briefly the film is supposed to be a black comedy, a fantastic tale which takes place in Danzig, Germany both before and during WW2. It follows the adventures of a little boy, Oskar, who is so appalled by the cruelty he sees in the rise of Nazi Germany that he willfully decides to physically stop growing at the age of three years old by throwing himself down some stairs. Oskar acts as a narrator throughout giving his pointed observations on what he sees around him. The title refers to a tin drum the boy receives as a toy that he plays whenever he is upset. 

In addition to developing an adult’s mind in this child’s body, he also has the ability to use his voice to shatter glass, a talent he uses to his advantage throughout the film.

Oskar forms attachments to various people throughout the film only to have them end horribly in one way or another. At one point he is living with a woman who is sleeping with a man who may or may not be Oskar’s father, a German officer. On the woman’s table is a Palissy charger on which she keeps a Nazi pin which she places on the officer’s uniform.

The use of the Palissy charger is never explained but I think is intended to revolt the viewer and equate the Nazi swastika to the creepy, crawly animals shown on the charger. It may also be a visual reference to a terrible image earlier in the film where a woman takes a hatchet to live eels. 

Oskar’s attachment to the woman and her daughter, like all those in the film, ends unpleasantly after which he moves on to another adventure. 

The film is filled with relentless cruelty, murder, rape and general ugliness throughout the length of its running time. It also places this boy into extremely inappropriate situations involving adults. I doubt the film would be made today.

It is considered a masterpiece of modern cinema in its critique of Nazi Germany and the cruelty of man. In spite of all that it’s not a film I would recommend to anyone but the most adventurous film enthusiast

To view the trailer in German go here.

The Majolica of Josef Strnact

Josef Srnact majolica vase

The pottery established by Josef Strnact Jr. was one of the most prolific Bohemian potters of earthenware, terra cotta and Jugendstil majolica in the last quarter of the 19th century and first quarter of the 20th century. Little is in known about the man who founded it. What we do know is that the pottery under the name Terrekotta-Majolika-und Fayencefabrik Josef Strnact was established in 1881 in Turin-Teplitz—modern day Teplice, about 31 miles south of Dresden—in an area then part of the Austrian empire. The company initially geared its products towards a local market with utilitarian items predominating.

Teplitz c.1910

Strnact utilitarian pottery catalog

Strnact utilitarian pottery catalog

Strnact utilitarian pottery catalog

By 1902 the company opened a second plant in Geisingen which he called Terrekotta-Majolika-und Fayencefabrik Josef Strnact Junior. and in 1909 Strnact expanded the pottery further by purchasing the factory of Anton Heller also in Turin-Teplitz. By 1910 the company had expanded to 300 employees.

Geisingen

The company specialized in earthenware and terra cotta production, producing majolica decorative and functional items like tableware and tobacco paraphernalia as well as tiles, clocks and garden items. They were particularly well known for their earthenware landscape plaques. 

Strnact earthenware plaque

The majority of their majolica wares were floral in the popular Jugenstil style with molded tube line work. The efficiency of this type of decoration kept costs low and expanded their growing export business proving a key aspect to their success.

Today their vases, jardinieres and humidors are of most interest to majolica collectors with a large range available.

Some of their work incorporated transfer vignettes and gilding in the fashion of other European ceramics of the period.

They also made pieces in earthenware with three dimensional applied fruits and flowers in the manner of French Barbotine pottery both with and without majolica glazes.

They also made humidors among their most popular items and ceramic signage, little of which has survived today.

Strnact majolica elephant humidor,

 a design also made by WS&S

Rare Strnact ceramic sign

After WW1 Teplitz was incorporated into Czechoslovakia. As a result of changing tastes and the decline of interest in majolica the company business diminished. By the late 1920s Strnact decided to limit his participation in the operation by taking on partners Karl Zöttlein and Josef Pachmann. In 1934 Strnact retired and the company was sold to Pachmann and Elly Schubert. The company closed permanently sometime before the German occupation of Czechezlovakia in 1938.

Marks

Strnact pottery is usually marked with an ink, raised, or impressed JS mark on the base, or occasionally on the side, of hollowware pieces.

Mark used 1900-1918

Combination ink and raised Strnact mark used 1900-1918

Strnact impressed mark used 1900-1933

Strnact mark used on Neuschwanstein Castle landscape plaque

Collecting Strnact pottery

Strnact majolica is not well known so it is usually quite reasonably priced in the United States with prices in Europe somewhat higher. A collection of their Art Nouveau pieces can make for a striking and inexpensive display. As cross-collectibles their humidors and clocks bring higher prices. Their earthenware plaques are most popular in Europe as tourist items.