SKU: 6453194119

CARSTENS TÖNNIESHOF ‘ANKARA’ TABLE LAMP WITH VINTAGE SHADE

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Description

CARSTENS TÖNNIESHOF ‘ANKARA’ TABLE LAMP WITH VINTAGE SHADEA striking table lamp manufactured in the 1960s by CARSTENS TNNIESHOF, finished with a variation of their very successful wax resist 'Ankara' dcor (Helmut Scholtis, 1963). The lamp body is matt burnt orange decorated, with a metallic anthracite glaze. The nubby fabric shade is of the same period and accented with gimp trim and tassels in alternating rust and beige. The light can be turned on and off with a plastic tipped pull string or from the inline

A striking table lamp manufactured in the 1960s by CARSTENS TÖNNIESHOF, finished with a variation of their very successful wax-resist 'Ankara' décor (Helmut Scholtis, 1963). The lamp body is matt burnt orange decorated, with a metallic anthracite glaze. The nubby-fabric shade is of the same period and accented with gimp trim and tassels in alternating rust and beige. The light can be turned on and off with a plastic-tipped pull string or from the inline switch. Wired for the European market, but comes with an adaptor for North American outlets. (We will, of course, happily change the plug at the customer's request.)


CARSTENS-TÖNNIESHOF was founded in 1946 by Ernst Carstens and his son Christian. The family (which included Christian's namesake uncle, sometimes mistakenly listed as a Tönnieshof cofounder) had a generations-long history of manufacturing porcelain and other ceramics throughout Germany. However, all of its businesses had collapsed by the end of WWII. Most of the factories that had survived were expropriated by the GDR—having wound up on the communist side of the line when the country was divided following the war. Father and son built the new Tönnieshof factory on a farm of that name in the town of Fredelsloh—just across the West German border in Lower Saxony. Very little is recorded about its earliest production, which began in 1947 and consisted mainly of tableware. The first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director for CARSTENS-TÖNNIESHOF until her death in 1965.

Early modern CARSTENS-TÖNNIESHOF products had simple forms and were decorated in discrete colors. More advanced décors, with organic patterns and sometimes gold elements, were developed by Trude Carstens in the mid-'50s. Good examples of this type are Utrecht and Graz. Forms with molded geometric patterns would soon be introduced, the Carmen relief series from 1958 being representative.

When Ernst Carstens died in 1954, leadership passed to son Christian. Under his guidance, the firm maintained its dynamic position in the vanguard of West Germany's ceramics industry. CARSTENS, which employed about 400 workers by this time, would remain successful for decades and produce an enormous variety of shapes and glazes. In step with most of the other major German ceramics companies of its day, CARSTENS' practice was to apply a variety of decoration techniques to the same basic forms. This naturally yielded extensive product ranges. In addition to its own branded pottery, CARSTENS manufactured ceramics for the Austrian firm Goldscheider.

The celebrated Heinz Siery began his work at CARSTENS in 1959. His designs—with their harmonious, "golden-ratio" proportions—were ubiquitous in the company's early '60s production, and indeed, throughout its remaining history. Of special note is the original Atelier series, developed by Siery (forms) along with Gerda Heuckeroth (décors) and released in 1962. The two are together responsible for some of CARSTENS' most coveted creations.

Helmut Scholtis (listed as "von Scholtis" in much of the literature), during a stint with CARSTENS in 1963, unveiled the hugely popular Ankara décor. An outstanding example of the "wax resist" technique, it was applied to a broad array of forms and can be found in a variety of color and shape permutations. Ankara remained in continuous production until 1969.

Dieter Peter and Rudolph Christman came up with several advanced, eccentric forms in 1967 and paired them with sophisticated "fat lava" glazes for the high-end Luxus series. It was followed in 1968 by Gerda Heuckeroth's Boutique series. The two lines were produced to be sold exclusively in large department stores and comprised some of CARSTENS' most labor-intensive and costly items to produce.

CARSTEN's production was eventually expanded to Austria and overseas to Brazil, Chile, Argentina, and Australia. It may well have topped out at close to 10,000 units daily overall. By the mid-1970s, however, the profitability of the ceramics industry was being undercut by cheap imports and lagging public interest. CARSTENS went bankrupt in 1977. It was taken over by employees for a time and operated under the name Kiel Atelier; all operations ceased in 1984.


KEY DESIGNERS:

  • Trude Carstens, 1946–mid '60s
  • Heinz Siery, 1959–1967
  • Gerda Heuckeroth, 1962–1964
  • Dieter Peter, early '70s
  • Rudolph Christman, 1967–1968
  • Helmut Scholtis, 1960s

DETAILS

Maker – CARSTENS-TÖNNIESHOF

Production Period/Year – 1960s

Origin – WEST GERMANY

Styles/Movements – ABSTRACT; MID-CENTURY MODERN

Materials – CERAMIC, FABRIC

Colors – BURNT ORANGE, BEIGE, BLACK, GOLDENROD

Shade – INCLUDED

Power – UP TO 250V (EUROPEAN STANDARD), CORDED, TYPE "C" PLUG

Condition – Excellent vintage condition. May show minor signs of previous use.

Dimensions – 15" DIAM. × 36" H

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Exchange/Return Notes
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SKU: 6453194119

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4.2 ★★★★★
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A
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Anonymous
Massapequa, US
★★★★★ 5
Useful and Handy !
Very useful
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 11, 2026
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Valerie
Bozeman, US
★★★★★ 1
Tray
Nice but way too small from what the picture showed
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Reviewed in the United States on January 25, 2026
S
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Shane
Louisville, US
★★★★★ 5
True-to-photos color, solid build, and great for organizing
Color: 2Pcs Green
Durability: This tray feels well-made and sturdy. I replaced a fragile tray that shattered when it fell, and this one feels like it would hold up far better to normal day-to-day handling. I am not going to stress-test it, but it feels substantial and nicely finished. Use and ease of use: It does exactly what a tray should do. It is easy to carry, stable when set down, and the woven leather surface feels secure and helps keep items from sliding around. Color: The green woven leather matches the website photos. No surprises, no weird undertones. It looks clean and high quality in person. Organization: This is where it really shines for me. It is a great fit for corralling items on a table, counter, or dresser and instantly makes things look more intentional. It is not stackable, but it is not advertised as stackable either, so that is fine. Size and accuracy: The dimensions match the schematics online, which I appreciated. It fits the space I bought it for exactly as expected. Overall, it looks high-end, feels durable, and is a simple upgrade if you want a tray that helps keep a space organized without feeling flimsy.
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Reviewed in the United States on February 21, 2026
C
Verified Purchase
Crystal
Massapequa, US
★★★★★ 5
Nice tray!
Color: Black
This tray has helped me organize my desk better. I use it for my phone stand and charger, as well as a place to hold and charge my vapors. It has a nice rubber mat inside so nothing gets scratched on the wood. It is well put together and seems very sturdy. I think it will last a long time! It works for anywhere in the house.
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Reviewed in the United States on May 8, 2026
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Jay Gregory
Louisville, US
★★★★★ 5
Classic gents’ tray
Color: Black
This tray is large enough to hold the items a guy normally carries around in his pockets (e.g., wallet, eyeglasses, cellphone, money, keys, lip balm). The tray is lowkey attractive and keeps a dresser from looking cluttered. The tray bottom is thin yet sturdy. Good price and worth the buy.
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Reviewed in the United States on January 24, 2026

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