Born in Berlin, Germany. Production designer who entered German films in 1924 as an assistant art director on DAS WACHSFIGURENKABINETT ("Waxworks") which starred Emil Jannings at Neptune. He then worked as set decorator, set designer or art director on films such as DER FARMER AUS TEXAS (1925), GESCHLECHT IN FESSELN - DIE SEXUALNOT DER GEFANGENEN ("Sex in Chains) (1928), S.O.S. EISBERG (1933), DER VELORENE SOHN ("The Prodigal Son") (1934), DAS HOFKONZERT (1936), DER ALTE UND DER JUNGE KÖNIG - FRIEDRICHS DES GROSSEN JUGEND and VERGISS MEIN NICHT (both 1935) and DER BETTELSTUDENT ("The Begger Student") (1936). He began working as a production designer in the early 1930s: IM BANNE DES EULENSPIEGELS ("Spell of the Looking Glass") (1932), DIE STIMME DER LIEBE ("The Voice of Love") (1933), NORDPOL - AHOI! (1934), FÄHRMANN MARIA ("Death and the Maiden") (1936), ZU NEUEN UFERN ("To New Shores") (1937), DIE REISE NACH TILSIT ("The Trip to Tilsit") (1939) and TITANIC (1943). After World War II, his production design credits include WENN EINE FRAU LIEBT (1950), DIE FRAUEN DES HERRN S. and HEIDELBERGER ROMANZE (both 1951), MARTIN LUTHER (1953), ROSEN AUS DEM SÜDEN (1954), ROSENMONTAG (1955), WALDWINTER and ANASTASIA - DIE LETZTE SARENTOCHTER ("Anastasia: The Czar's Last Daughter") (both 1956), WIE EIN STURMWIND ("Tempestuous Love") and OHNE DICH WIRD ES NACHT ("It Was Night Without You") (both 1957) and FOR THE FIRST TIME (1959). Visit the Internet Movie Database for a full listing of Maurischat's production design, art direction and set decorating credits.  Nominated for Art Direction/Set Decoration (Black & White) 1953: MARTIN LUTHER - Art Direction 1 nomination