Internal artists created most of the designs, and it was the company’s policy at the time not to name them. Unfortunately, this makes it impossible to trace back the name of individual artists today. The only name that was made public was that of Ludwig Scherer, who joined Villeroy & Boch in 1954, and worked in Septfontaines long enough to become known. Even in the early years of his career, the master modeller played a key role in developing the Bambi-Line series of figurines. His portrait of a young fawn was named after Felix Salten’s 1923 book “Bambi”. The Walt Disney movie from 1942 by the same name provided the stylistic inspiration for the figurine and ultimately lent its name to the entire series of 1950ies decorative items.

Particularly ashtrays – but also bowls – were frequently used as promotional gifts, commissioned by companies or institutions with a specified lettering. Customers were also able to order personalised items to commemorate a special occasion. The customer’s logo, lettering or a drawing submitted by the customer was printed on various items of a series. These pieces were produced as promotional gifts or gift items until the 1970ies, one example being a triangular ashtray with rounded corners for the “XV^e Tournoi Sportif International des Finances in 1970”.

Decades of modernisation

The management was always on the lookout for innovation, a quest that was first noticeable in the Festival Ware series. From the mid-1950ies, the trend slowly returned from plain-coloured glaze to decorative motifs, often against a white background. New and younger artists, some of whom had never worked with ceramics as a medium, were promoted. Young talents were scouted in artists’ studios in Paris and amongst the most gifted graduates from German universities and art schools. Baron Antoine de Schorlemer wanted to promote new artists working outside of the company. He firmly believed that the reality of work in a factory limited the artists’ imagination. That is why he wanted them to remain in large cities where they were able to collaborate and share with other artists. From the 1960ies onwards, these external designers and artists increasingly dominated the creative world at Villeroy & Boch Septfontaines, starting with decors such as Tyrol, Viking and Holiday. Christine Reuter, a Munich-based artist, had designed Viking and Holiday.

Design Made in Luxembourg

One aspect that made Villeroy & Boch stand out was that the production of different designs varied from one factory to another. Each site designed and produced its own decors and shapes. Acapulco and Scarlett, for example, two designs that are still famous today, were only produced in Luxembourg. It was not until the end of the 20^th century that the designs were shared between production sites. This was not the first step towards the harmonisation of all V & B sites, however: a uniform brand had been introduced earlier. The Luxembourg factory had officially reintroduced the Mercure stamp on the occasion of the 200th anniversary in 1967, which mentioned the founding year, 1767. As early as in the mid- to late 1970ies, the Villeroy & Boch group with headquarters in Mettlach (Saarland) referenced the founding year 1747 of the paternal Boch manufactory in Audun-le-Tiche (Lorraine) as the group’s founding year. From then on, all products manufactured in Septfontaines carried the year 1747. This can be seen on two vases that are part of the museum’s collection: Both carry the French Garden Fleurence decor, which inspired the lemons and leaves frieze that can be found on all Villeroy & Boch products made since 1998. The square vase is Made in Germany, whereas the other one is labelled as produced in Luxembourg.