Eduard Stellmacher (1868-1932) for Amphora Riessner, Stellmacher & Kessel (Amphora)
'Edda' series grotesque ewer with purple base fading to cream/green, model no. 3619

Circa 1897 to 1898
Glazed earthenware
Raised 'EDDA' mark and embossed 'AMPHORA' oval mark to underside along with model number
30cm high

Preview: Barley Mow Centre

Literature
Monsters & Maidens Amphora Pottery of the Art Nouveau Era, by Byron Vreeland, Fledermaud Press California, page 119 describes the Edda Series and illustration of the mark.

The House of Amphora 1890-1915, by Richard L. Scott, published by Richard L Scott (2004), page 174 for description of the Series as follows:
'...emulating snow and ice as depicted in the [Norse mythology] poems...typically icicle-shaped pieces dripping from the lip of the vase, the longest of which sometimes form the vessel's handles.'
'As one of Amphora's exclusive products, it represented the artistry of the company at important exhibitions. Vases from this series can be seen in interior photographs from the 1902 International Exhibition of Decorative Art in Turn and others.'

Jan Margl, page 174

History of Amphora Pottery
Alfred Stellmacher (born 1837 in Thuringia) worked at various ceramics factories on creating porcelain flowers, then set up his own Alfred Stellmacher Company in Turn in 1876. He garnered acclaim for his experiements in porcelain, one of which was a soft yellowish shade with matte finish known as 'ivory porcelain'. Early decorative styles were oriental and neo-baroque, with those of the late 1880s being more innovative in form and included vessels with handles shaped like monsters. He received the Gold Medal in 1889 at the Paris World Exhibition.
In 1892, the Riessner, Stellmacher & Kessel known as 'Amphora I' porcelain factory was established in Turn (involving Alfred's son Eduard Stellmacher and his workshop head Hans Riessner). With movement of staff to this new company and other difficulties, Alfred Stellmacher sold his original company to Ernst Wahliss and provided designs and teaching for Amphora. After around 1895, Amphora dropped production of the neo-baroque vases and consistently moved toward modern Art Nouveau. During the 1890s, Paul Dachsel (Alfred's son-in-law) made a significant contribution to designing remarkable vases for the Amphora company.
Amphora was very successful, winning the gold medal at the San Francisco Exhibition in 1893, and conquered the large US market. By 1894 the company was expanding and began producing wares in earthenware and then faience, as well as porcelain. By 1900, Amphora was at the pinnacle of its success, exporting around the world, winning multiple awards and with with huge creative artistic development.
In 1904, Eduard Stellmacher left to form his own company, then a year later Rudolf Kessel fled to the US after claims of fraud, Karl Riessner died, and left Hans Riessner the sole owner of the company. His new company was registered in 1910 as Amphora-Werke Riessner.