Berlin royal porcelain ceramics place

KPM Königliche Porzellan-Manufaktur Berlin GmbH
KPM Logo
Kind	GmbH Ltd.
The head office location	Berlin
Type of industry	Glass, ceramic, porcelain
Business contents	Porcelain production
The number of employees	150 2013^[1]
Outside link	www.kpm-berlin.com
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KPM Königliche Porzellan-Manufaktur Berlin GmbH Berlin royal porcelain ceramics place (KPM Berlin) royal porcelain ceramics place Berlin was founded on September 19, 1763 by Friedrich the Great. As for the product mark, a scepter of the King of the coming cobalt blue is attached to all products by a crest of Marquis choice emperor Brandenburg. Furthermore, as for the porcelain of all decorated KPM, a mark and the painting mark of the picture craftsman are created. KPM is manual manufacturing industry even today. All porcelain (a tableware set and figure skating) is handmade, and the decorative painting is drawn freehand.

Scepter of a KPM king

Product

KPM built up a large number of tableware sets and porcelain of the figure skating during the history. To date, the ceramics places still increased, but made up a repertory with more than of 150,000 type. There is the thing produced every day since the foundation 250 years ago without still changing.

One set of tableware

KPM produces the tableware set of 10 styles now. There are ロカイエ, ノイツィラート, ノイオジール of the rococo style that Friedrich the Great ordered for a palace. It is with neoclassicism, art nouveau, Bauhaus and a current work.

Friedrich Elias Mayer of the KPM- molding Meister intended classic decoration for breath bamboo pipe-stem city Palace in 1767 (I changed Rocaille ロカイエ and the name by the Friedrich Wilhelm IV life) and designed it. The form is surrounded with the bunch of the pillar in imitation of a classic style, and the thing which imitated ロカイエ (shellfish) of the molding is described there, and a flower is described in the meantime. These four spread from the square frame of four of the porch of the plate to an inside horizontal plane. I describe a flower and the swag that gold-rimmed antique decoration and a blue mosaic are more natural by hope of the King for breath bamboo pipe-stem city Palace. The circumference of the relationship without the Aloe ordered yellow porcelain from the King with the same model for city Palace of Potsdam. I treat a guest with the banquet of the federal President in the beret boo palace in a plate of the crest Aloe containing it of the eagle of the money at a border of the money.
A tableware set of the relief decoration was designed for Aramiya of Potsdam in 1765. I was called Neuzierat ノイツィーラット (new decoration), and this tableware set became the favorite of the Friedrich the Great two years later. This design is covered with a design (rocaille design) to be seen to a leaf vine, the stem-formed line, shellfish in the relations that I got of the harmony with the smooth part. I use this which is Bleu mourant (the blue that seems to disappear) in soft blue, French that Friedrich the Great liked not to change from 1784.
Neuosier ノイオジール was designed in 1770. As for this, a relief is felt in the meaning called the thing which I knit in the branch of the willow individually in this way with French Osier. The size of the container and the plane of the plate are decided by a square frame drawing an arc. I built up the handle of a pot and the plate and the handle of the porcelain bowl for a bowl and the ragout with a cover after the fashion of a branch. I made up ノイオジール with the decoration of the leaf design of the elaborate bouquet and money for the King succession prince Friedrich Wilhelm second in 1790. When his monarchy began, I was used as Imperial Court tableware.
Johan curl Friedrich リーゼ designed Kurland クアランド in 1790. This depends on an order for tableware set request in the neoclassicism of Duke of クアランド Peter Byron. クアランド having this classic corner showed respect for this order client in the 19th century and changed クアランド and the name. It is 70 or more and the tableware every most uses in the tableware series of KPM and is the most successful series. I wore a classic textile and the British silver product helped the model of the decoration such as the egg and the relief of the relationship such as the pearl as a sample. KPM made up two new classical music models in commemoration of the 250th anniversary. In クアランド swing ノヴォ, the border of the relief is made of the porcelain which dropped glass pawn. The version that developed decoration includes クアランド royal Noah, and staffage of the money consisting of 24-karat gold is touched in the black background.
Theo Dole シュムッツバオディス designed it for KPM150 anniversary memory in 1912. Produced model Ceres Ceres is respect to the richness and extravagance of the late art nouveau even today. Horn of plenty overflowing in fruit and tucket forms the relief decoration that is full of fantasy.
The successful tableware design is Urbino ウルビノ, Arkadia (Arcadia) and Feldblume auf Bord which トゥルーデ Petri designed in the 1930s (flower of the field of the roadside). Tableware set, ウルビノ completed in a style of the neorealism in 1931 acquired the grand prix at an exhibition of Paris of 1937. The functionality of the design from Japanese yen and a ball is seen in a soup bowl. The cover is usable to a flat dish. ウルビノ is displayed by permanent construction as a classic of the contemporary art in New York Museum of Contemporary Art. This is the series of KPM with much number of the sale.
Tableware set Arkadia Arcadia was born to celebrate KPM175 anniversary memory in 1938. (the series only for tea set first.) Both designs of the relief of Feldblumenrelief auf Bord (flower of the field of the roadside) of 1940 assume neorealism the basis, too. In the Arcadia that Petri laid, ジークムントシュッツ devised the medal picture which showed the story Arcadia of the land of dreams based on a Greek myth. I wrote Gerhard ゴルヴィッツァー to the same type of containers two years later and built up the flower of the field, a flower of the roadside with the relief of the insect. Arcadia model is offered including a kind without the relief decoration in the name of the Urania ura near after 1990.
KPM cooperated with エンゾ Mari in 1996, and tableware set Berlin Berlin was brought about. This won a prize for IF design in 1998. A plate and the bowl which I put on a hollow using the structure of the bowl of the plate having a border are seen like the stage when a flower opens. This tableware series is available for a combination changing individual parts.

Figure skating porcelain

The figure of various styles was created in a work of the Meister of KPM for the past 250 years. The highest point of the Berlin porcelain art in the neoclassicism is a line of the princess with the designs of the Johan ゴットフリード shadow of 1796. A statue made with the double wedding ceremony of royal families in Das 1795 is stylistic and sees it and is considered as a work of the openings for the new age. The image of the animal was important from the early days in a history of KPM. By the rococo, I see the figure of the animal for artistic copying of nature by invention and the skill and staffage realistic again directed in light and a shadow. There is a design of the figure skating of many animals so far from the early stage of times of the mill. For example, there are kingfishers of the bright blue and bluish green of the Giovanni Battista ペドロッツィ product of 1765. In the 1920s, I brought about a dog and the figure skating of the rabbit that Tommy パルツィンガー emphasized humor with a style of アートデコ for KPM. Designs of the figure skating of the recent animal include white bear Canute, united Buddy base-up, a hippopotamus (Knautschke クナウチェケ).

Vase

The important artist designed a vase in a style for KPM in all times. Those most do not let you feel the times even for a classic thing. The design of many vases comes from curl Friedrich Shin KEL from the times of the neoclassicism. There are a trumpet-shaped vase and Fidibus フィディブス type vase created in 1818 born in 1820. The fine weather type vase of the Bauhaus ceramist マルグリート Freed Ren da born by cooperation with art vocational school ブルグギービヒェンシュタイン in 1931 was embodiment of the complete form. The Freed Ren da built up the vase which I got of seven balance from the basic form of an oval and the cone. I am shown a permanent exhibition of New York Museum of Contemporary Art one. The symbiosis theme investigated by form and Bauhaus called the function is found from 1930 through 1968 by many vase designs by トゥルーデ Petri who is a designer of KPM. The vase of the square-built Cadre カドレ type produced in 1967 is related to a tea caddy of ウルビノシリーズ of 1930.

1844 flat dish Magdeburg temple possession
Vase, produced c. 1860. Located at Birmingham art Museum possession
I am playing with a terrier of the KPM curly hair
A cat is sitting down
Figure skating of the person from Prussia mine

Mark

Mark of the scepter of the King

When I acquired a ceramics place from merchant Johan Ernst ゴツコフスキー of Berlin on September 19, 1763, the Friedrich the Great gave the scepter of royal families of the cobalt blue as a product mark from a crest of 選候王 Brandenburg along with the special privilege as the mill of the Royal Family. The mark of the porcelain is made at a stage before being with a glaze by burning. It is the thing which met the severe terms of quality of the ceramics place before writing it, and painting with a glaze of the scepter of the blue King or inspects it on the porcelain. Arrive and bake a glaze afterwards. The cobalt of the scepter of the King is strongly tied to a glaze then. As for the porcelain sorted to the second, a line is drawn to a scepter of the King, and the painting is not talked about basically. The mark has been often changed to protect this mark from an imitation. For example, I add S to a scepter of the King from 1944 through 1957 at the time when I evacuated to セルブ.

Mark with picture

The porcelain decorated since 1803 will make a mark with picture more. So I prove legitimacy of the painting. This seal is done in the form next to the scepter of the King today. It is marked with various colors by a kind of the decoration. The porcelain having a red empire precious stone is flower piece がなされている belonging to. However, the seal that color wealthily も with figure and picture of the paysage which I decorated is red is pushed. をされていないものである as for a green empire precious stone being pushed porcelain belonging to flower piece. For example, や with frames with money and platinum is simple color decoration and monogram. The blue empire precious stone is decoration of the colors that is red like clear fire. A color sets in the glaze which melts into it because this color is baked at very high temperature and copes with a tableware washing machine.

Mark of the craftsman with picture

The decoration with all pictures is done by hand in KPM. The Rev. porcelain painting can interpret モチーブ such as the design of a flower and the scenery within the trust of the decoration freely. Finally Rev. painting gives a signature in a hill. It is one only thing in the world, and Rev. each painting does a personal signature. Furthermore, I add a number to various painting decoration.

History

It begins and it

It was tried twice before KPM was erected in 1763 to produce porcelain said to be white money for the fund of ばに royal families during the 18th century in Berlin. It was a merchant of Berlin, and the first challenge depended on woolen stuff factory owner, Wilhelm refuse gone ヴェーゲリー. He obtained the special privilege which built a royal porcelain ceramics place from Friedrich the Great in Berlin in 1751. Furthermore, the great king guaranteed the tax-free special privilege to necessary raw materials and the exclusion of the rival. Because image producer Ernst Heinrich Reichart entered the ceramics place, ヴェーゲリー got an artist-like accent in 1753. Expression, a gentleman and the lady who are angel image, 寓喩的 of porcelain of the figure skating in particular, e.g., the rococo style show the design by him. However, ヴェーゲリー failed by porcelain production by war and technical difficulty for seven years. ヴェーゲリー transferred a tool, material, materials to merchant Johan Ernst ゴッツコフスキー of Berlin in 1757. ゴッツコフスキー lets acquire a porcelain ceramics place based on a wish of the Friedrich the Great in 1761, and spread; again. Image production Ernst Heinrich Reichart kept a secret of the porcelain production. ゴッツコフスキー made following contracts with Reichart. At first I transferred in 4,000 Reich tala and stock of the porcelain and other subject matters in 3,000 Reich tala in the secret of the manufacturing method. Furthermore, Reichart would work as a cause compounder of ゴッツコフスキー and a production manager based on a contract and absorbed eight employees of Reichart. I succeeded in ゴッツコフスキー which was recognized by King of Prussia, and was protected scouting an important artist and worker of Sachsen that the Prussia forces occupied. ゴッツコフスキー made a contract with pupil Friedrich Elias Mayer of ケンドラー as curl Wilhelm Baum and painting supervision as image production Meister. Johan George green Nin garfish took you as the first plant manager. A ceramics place with the ability for production was able to be active according to rye petit garfish of Berlin at 4 only for several months, but ゴッツコフスキー fell into a financial difficult situation at the same time. Because there was not assistance for national finance uneasiness by war at all from the nation for seven years. ゴッツコフスキー came to cannot but stop production in 1763. The porcelain with G and the product mark of W and ゴッツコフスキー of ヴェーグレー is rare, and it is famous among collectors today.

Foundation

The Friedrich the Great acquired this company in 225,000 Prussia Reich stirrers on September 19, 1763. In part this was because it did not terminate saving a merchant of Berlin with the fame from the bankruptcy, the company which became important for King one more early. The history of the success of Royal Family porcelain mill Berlin began with the acquisition by the Friedrich the Great. As for the King, all 146 employees gave the name and a product mark in an acceptance ceramics place. It is the scepter of royal families from a crest of 選候王 Brandenburg. It was named royal porcelain ceramics place Berlin, and the ceramics place became the sample factory. The employee worked in regular working hours, and it was guaranteed, and, with an income above the average, the pension was paid in company's health insurance. We had security to facing each other to a wife and a child left undone who did not let a young person work here. The work procedure became rational, too, and the technique became perfect, too.

Rococo-style

Friedrich the Great oneself was the first customer with a joke. I did an order for 200,000 empire tala, and various tableware sets of 21 kinds ordered porcelain of KPM from the great king for a castle owned by him from 1763 to 1786 when he died. As for this tableware set, it is usually from a centerpiece of the set for 36 and around 500 various vases, a source plate, a platter and the artistic figure skating. The form and color were matched with indoor interior decoration. The first banquet tableware which a great king ordered for Aramiya of Potsdam in 1765 was decoration of the reliefs. Image producer Friedrich Elias Mayer made up model, Neuzierat (ノイツィーラト) of the rococo-style style. I built up a tableware design for King afterwards. Aloe of the gold leaf and the decoration of the relief consisting of the trellises of the flower are matched with the ceiling decoration of the new palace. Tableware set Neuglatt (ノイグラット), classic decoration (now called the Rocaille Aloe) and Neuosier (ノイオジール) are produced even today. New color Bleu mourant blue Morand (dead blue) was able to do it in 1784 after the development period of four years. This was tableware set, ノイツィーラト which I put together in blue of the private room of sun she Palace with the blue that Friedrich the Great liked. The great king spent this white money as diplomatic means as an owner of KPM. Most of presents to his foreign country were things of the ceramics place. A product of KPM is 多々見られる for royal families of the palace of the Russian emperor and the European Great Powers.

Neoclassicism

フリードリッヒの後を甥であるフリードリッヒ　ヴィルヘルム2世が後を継ぎ,この製陶所がプロイセンの中で先進的技術をもつ製作所になった。新王は、所有者であるがKPMに注文した磁器を利益を含み支払請求することになった。製作所は、恒常的に財政的に上向きになった。1787年から平均的な利益は、年間 40,000 ターラーになった。フリードリッヒ大王の崩御の後プロイセンの中で様式が変わっていった。ロココの遊びのある様式が新古典主義の明確なラインに代わった。この様式において今日でも製造されている食器セットKurland（クアランド）がある。当時の有名な芸術家カール・フリードリッヒ・シンケル、ヨハン・ゴットフリード・シャドウとその弟子クリスチャン・ダニエル・ラオホがKPMのために花瓶やフィギュアをデザインしたものである。とくに有名なのは、ヨハン・ゴットフリード・シャドウ作のプリンセスの一団である。19世紀前半において著名な欧州の磁器製等所の中でKPMは、光景又は風景画の磁器でリードしていた。有名なところでは、カール・ダニエル・フレダンクがいる。彼は、1832年から製作所長のジョージ・フリードリッヒ・クリストフ・フリックのもと、ベルリンとポツダムの美しい風景のシリーズをデザインした。国王からの贈り物として彼による画装飾の花瓶や食器セットは、欧州の宮廷へ新しいベルリンのイメージを形成した。今でもKPMによって当時の風景画の芸術を当時の水準で再製作している。

新製作所

1867年にフェルナンド・ヘルマン・グスタフ・モッラーが製陶所所長代理となり、そして翌年所長となった。ライプチガー通りがプロイセンの州議事堂となるためティアガーデンのヴェーゲリー通りに移転した。新しい場所では360,000ターラーも掛かったがシュプレー川沿いにあるために船で原料や製品を配送しやすい利点があった。 KPMは、技術の面から窯業のなかでは革新的な功績を常に挙げてきた。19世紀後半に発明と技術的な革新がつよく表されている。1878年以来製作所は、化学技術試験所と連携した。試験所所長ヘルマン・アウグスト・セーガーは、数々の新しい型と色彩のレパートリーをもたらした。1880年、セーガーは、セーガー磁器と言われる軟質磁器（カオリン含有が50%以下）を開発した。中国の陶磁器に刺激され新しい色彩釉薬が誕生した。例えば牡牛の血の色の釉薬、青磁用釉薬、結晶釉薬と釉薬がけ. 新しい芸術的な表現の型を創造した。さらにセーガーあとの時代様式、アールヌーボーへの道しるべでもあった。試験場は、更に陶磁器の分野で新しい研究を進めた。1899年に磁器用液体粘土を製造に成功した。これにより今まで個体粘土から型を作り、削った作業をなくすものだった。

アールヌーボー

1886年にアレキサンダー・キップス教授は、芸術部門の責任者として任命された。1908年にテオ・シュムッツ=バオディスが製陶所の芸術部門の責任者となった。釉薬の下の装飾を促し新しい型を開発した。このことでKPMは、国際的な展示会で大きな賞賛を得た。彫刻家アドルフ・アンベルクの結婚式の行列はもっとも重要なベルリンのアールヌーボー様式の磁器である。プロイセン王子フリードリッヒ・ヴィルヘルムとセシリア・メクレンブルク-シュベリンとの結婚のためアンベルクは1904年に様々な飾りからなる銀の卓上飾りをデザインしたが、この計画は頓挫した。それは、ギリシャ神話を題材にした雄牛の上の裸体の女神エウロペがあまりにも肌を見せすぎるということが理由であった。シュムッツ=バオディスは、このデザインの芸術性を見出したので1908年に磁器での製作思い立った。1910年KPMは、この結婚式の行列を発表しブリュッセルの万博で金メダルを受賞した。1918年に王制が終了しKPMは、国営磁器製陶所ベルリンになった。しかしKPMの社章と王の笏はそのまま保持された。

バウハウスと新即物主義

1925年1929年まで、ニコラ・モウファングがKPMベルリンの芸術部門責任者であった。新製陶所所長ギュンター・フォン・ペッヒマンのもとドイツ工作連盟とバウハウスの理念が1929年から製作所の芸術的仕事に影響を及ぼした。その目的は、日用磁器の時代に合った本質的な形であった。この時代の芸術家、ゲルハルト・マルクス、マルグリート・フリードレンダー、トゥルーデ・ペトリらは、モダンな磁器成型を行なった。有名なデザインは、ペトリによる食器セットUrbinoウルビノや芸術学校ブルク　ギービヒェンスタインとの協力でフリードレンダーによるハレ型の花瓶である。 1930年代のナチスによる政権掌握は、KPMの芸術家にひどい結果をもたらした。フリードレンダーは、ユダヤ人であるが故に出国を強制され、ルートヴィヒ・ギースとゲルハルト・マルクスは、同僚に対する忠誠心から教卓から去り出展禁止の処分を受けた。教卓を追放された芸術教育学者であり画家であり、作家であったゲルハルト・ゴルヴィッツァーは、1941年に芸術部門の責任者となった。第2次大戦中製陶所は、1943年11月22日と23日の空襲により生産を停止しなければならなうほど被害を受けた。1943年12月は磁器用粘土の仕事をして1944年1月は非常時生産の形で動き始めた。

新しい道

戦後KPMはバイエルン州フランケン地域のセルブに疎開した。フランケンから日用磁器と装飾磁器を市場に送り出した。1957年工場修復後歴史的な場所、ベルリンのティアガルテンに移した。市議会分会決定を受け1988年に有限会社KPM王立磁器製陶所GmbHとなった。1990年代KPMはもう一度強く製作所の文化的な手工芸術的な伝統に戻ることを再考した。花瓶のコレクションでの成功後1996年KPMは、イタリアのデザイナー、エンツォ・マリと協力をして食器セットBerlinベルリンを製作した。1998年から2003年記念建築物保護の観点からベルリン、ティアガルテンのKPMの社屋が建築家ゲルカン・マルクらにより修復された。生産技術上最先端のレベルとなった。数度となく民営化の試みの後、ベルリンの銀行家イェルク・ヴォルトマンが2006年唯一の株主として王立磁器製陶所を収得しました。同時にKPMは、歴史のある環状部屋の窯の講堂に販売ギャラリーを開店し、KPMは、更にベルリン、ポツダム、ハンブルク、ケルンに直営店を出した。2007年に製陶所はKPMの世界、体験展示をKPMの一角に開園しその磁器の歴史を常設し現在の手作りの磁器製作を公開している。高級ブランド、ボッテガ・ヴェネタやブガッティ・オートモビルとのコラボレーションを行っている。2011年には、KPMは、KPMの磁器、特にコバルトブルーの線状の模様をブガッテ・ヴェイロングランドスポーツ „L'Or Blanc"に外装の一部と内装として施した。2012年には、ブガッティ・ヴェイロングランドスポーツ „Wei Long"竜のモチーフとしてKPMの磁器を使用した。 2013年にはKPMは、250周年を記念して、ベルリンの3か所でKPM250年の磁器の歴史と磁器様式の大展示会を2013年9月19日から2014年1月26日まで行った。ブレーハン博物館では、アールヌーボーとアールデコの期間KPMの磁器への誘いというタイトルのもとで展示を行った。シャルロッテンブルク]では、KPM –形状、使用、蒐集という展示を行った。KPMの世界展では、特別展示で「王立磁器製陶所ベルリン-1763年から2013年-」というテーマで、18の個人収集から300の磁器芸術作品を製陶所の作品様式に従い期間ごとに概観的に展示を行った。

 昔の窯の講堂の内のショーケース

昔の燃焼炉部屋と装飾
 喫茶店と展示部屋のある新建屋
換気施設の詳細

参考文献

• Winfried Baer, Ilse Baer, Suzanne Grosskopf-Knaack: Von Gotzkowsky zur KPM. Aus der Frühzeit des friderizianischen Porzellans. Arenhövel, Berlin 1986, ISBN 3-922912-15-X.
• Winfried Baer, Ilse Baer, Waltraud Strey: ...auf allerhöchsten Befehl: Königsgeschenke aus der Königlichen Porzellan Manufaktur Berlin - KPM Ausstellungskatalog Bonn, Düsseldorf, Berlin 1983-1984; Arenhövel, Berlin 1983, ISBN 3-922912-06-0.
• Michaela Braesel, Katharina Dück, Johanna Lessmann: Berliner Porzellan des 18. Jahrhunderts. Museum für Kunst und Gewerbe, Hamburg 1993, ISBN 3-923859-17-1
• Karl H. Bröhan: Porzellan-Kunst. Teil 1: Berliner Porzellane vom Rokoko bis zum Empire. (Teil 2: Kunst-Porzellane und Keramik um 1900.). Ausstellungskatalog. Sammlung Karl H. Bröhan, Berlin 1969, ISBN nicht vorhanden.
• Margarete Jarchow: Berliner Porzellan im 20. Jahrhundert - Berlin Porcelain in the 20th Century. (2か国語英語、ドイツ語) Reimer, Berlin 1988, ISBN 3-496-01054-1.
• Erich Köllmann, Margarete Jarchow: Berliner Porzellan 2. Auflage, Neuausgabe. Klinghardt & Biermann, München 1987, ISBN 3-7814-0264-9.
• Jakob Kurpik: Das Archiv der Königlichen Porzellan-Manufaktur Berlin im Schloß Charlottenburg. Häufige Schäden und ihre Ursachen. In: Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg. Jahrbuch 2 (1997/1998), S. 189-194 (Digitalisat auf perspectivia.net, abgerufen am 25. Februar 2013).
• Georg Lenz: Berliner Porzellan. Die Manufaktur Friedrichs des Großen 1763–1786. Neudruck der Ausgabe. Hobbing, Berlin 1913 / Helmut Fischer (Hrsg.), Scherer, Berlin 1991, ISBN 3-89433-018-X.
• Plötz-Peters, Hannelore: Zwei Bildplatten als Verlobungsgeschenk. Der Werdegang des KPM-Direktors Frick und ein Präsent aus seinem Todesjahr. In: Keramos. Nr. 158, 1997, S. 55–62.
• Günter Schade: Berliner Porzellan. Zur Kunst und Kulturgeschichte der Berliner Porzellanmanufakturen im 18. und 19. Jahrhundert. Keysersche Verlagsbuchhandlung, München 1987, ISBN 3-87405-170-6.
• Gisela Zick: Berliner Porzellan der Manufaktur von Wilhelm Caspar Wegely, 1751 - 1757. Mann, Berlin 1978, ISBN 3-7861-1134-0.
• Berlin Handbuch: Das Lexikon der Hauptstadt FAB-Verlag, Berlin 1992, ISBN 3-927551-27-9.

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