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64-482: The company logo is a cobalt blue sceptre , which is stamped (painted prior to 1837) on every piece. All painted pieces produced by KPM are signed by the painter. KPM has produced a number of dishware forms and porcelain figurines throughout its history. Some forms have hardly changed their shape in over 200 years of production. Frederick the Great, who, as the owner, jokingly referred to himself as his own "best customer",

128-472: A dinner service in the new style was designed by KPM: KURLAND, which has been one of the greatest successes of the manufactory up to date. It bears the name of its commissioner, Peter von Biron , Duke of Kurland, one of the richest and most refined men of his time. Leading German artists of the time, like Karl Friedrich Schinkel , Johann Gottfried Schadow and his pupil Christian Daniel Rauch designed vases and sculptures for KPM. The most famous item among them

192-440: A golden eagle . It is frequently shown on medallions of the later empire, which have on the obverse a half-length figure of the emperor , holding in one hand the sceptrum Augusti , and in the other the orb surmounted by a small figure of Victory . The codes of the just and the cruel sceptre are found in the ancient Tamil work of Tirukkural , dated before 5th century CE . In its chapters 55 ( Sengol ) and 56 ( Kondungol ),

256-525: A healthcare fund and assistance for widows and orphans. The manufactory's most important client was Frederick the Great, who sometimes jokingly referred to himself as his “best customer”. From 1765 to his death in 1786, Frederick II placed orders with KPM for porcelain to the value of 200,000 thaler. For his palaces alone, he ordered 21 dinner services, each of them with 36 place settings and up to 500 separate parts, complemented by elaborate table centrepieces. In addition, most of his diplomatic presents came from

320-729: A lesser extent) North America. In 18th-century England, where the technique was developed, the earliest forms of transfer printing on pottery, for example by Sadler & Green in Liverpool , were overglaze, although by the end of the century it was normal to print as underglaze. Today overglaze decoration is much less commonly used, other than in traditionalist wares, as the range of colours available in underglaze has greatly expanded. Overglazes called "lusters" are still used for achieving special effects, such as iridescence of mother-of-pearl overglazes or metallic look of overglazes made with metal (eg. gold) particles. The kiln used for

384-508: A lower temperature which allows for a more varied and vivid palette of colours , using pigments which will not colour correctly at the high temperature necessary to fire the porcelain body. Historically, a relatively narrow range of colours could be achieved with underglaze decoration, where the coloured pattern is applied before glazing, notably the cobalt blue of blue and white porcelain . Many historical styles, for example mina'i ware , Imari ware , Chinese doucai , and wucai , combine

448-497: A porcelain manufactory in Berlin. In 1751, the Berlin wool manufacturer Wilhelm Caspar Wegely was granted the royal privilege to set up a porcelain manufactory in Berlin. Furthermore, Frederick II of Prussia granted him exemption from duties for the import of essential materials and assured him of the exclusion of all competition. Wegely hired craftsmen from his competitors, and appointed the porcelain sculptor Ernst Heinrich Reichard to

512-623: A shrine at the top, with little images of the Virgin Mary , Saint Andrew , and Saint James the Great in it. This sceptre was, it is believed, made in France around 1536 for James V . Great seals usually represent the sovereign enthroned, holding a sceptre (often the second in dignity) in the right hand, and the orb and cross in the left. Harold Godwinson appears thus in the Bayeux Tapestry . The earliest English coronation form of

576-536: A staff, and Pharaoh Anedjib is shown on stone vessels carrying a so-called mks -staff. The staff with the longest history seems to be the heqa -sceptre (the " shepherd's crook "). The sceptre also assumed a central role in the Mesopotamian world, and was in most cases part of the royal insignia of sovereigns and gods. This continued throughout Mesopotamian history , as illustrated in literary and administrative texts and iconography. The Mesopotamian sceptre

640-570: Is a staff or wand held in the hand by a ruling monarch as an item of royal or imperial insignia , signifying sovereign authority. The Was and other types of staves were signs of authority in Ancient Egypt . For this reason they are often described as "sceptres", even if they are full-length staffs. One of the earliest royal sceptres was discovered in the 2nd Dynasty tomb of Khasekhemwy in Abydos . Kings were also known to carry

704-414: Is a method of decorating pottery , most often porcelain , where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln . It is often described as producing "enamelled" decoration. The colours fuse on to the glaze, so the decoration becomes durable. This decorative firing is usually done at

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768-478: Is represented on painted vases as a long staff tipped with a metal ornament. When the sceptre is borne by Zeus or Hades , it is headed by a bird. It was this symbol of Zeus, the king of the gods and ruler of Olympus , that gave their inviolable status to the kerykes , the heralds, who were thus protected by the precursor of modern diplomatic immunity . When, in the Iliad , Agamemnon sends Odysseus to parley with

832-474: Is the Prinzessinengruppe (Two Princesses), after a design by Johann Gottfried Schadow. From the start of the 19th century the factory developed a new market among the expanding bourgeoisie , selling highly decorated "cabinet cups" (with saucers) either singly or in pairs. These were intended for display in glass-fronted cabinets rather than actual use. In the first half of the 19th century, KPM

896-625: The regalia drawn up in 1649, when everything was destroyed. For the coronation of Charles II of England , new sceptres with the Cross and the Dove were made, and though slightly altered, they are still in use today. Two sceptres for the queen consort , one with a cross, and the other with a dove, have been subsequently added. The flags of Moldova and Montenegro have sceptres on them, clasped by eagles. Overglaze enamel Overglaze decoration , overglaze enamelling , or on-glaze decoration,

960-535: The 1930s, the assumption of power by the National Socialists had serious consequences for many of KPM's artists: Marguerite Friedlaender was forced to emigrate because of her Jewish background. Ludwig Gies and Gerhard Marcks were dismissed and denied exhibitions because of their loyalty with Jewish colleagues. In 1941, the art teacher, painter and writer Gerhard Gollwitzer, who had been dismissed from his teaching position, became artistic director of KPM. In

1024-466: The 9th century mentions a sceptre ( sceptrum ), and a staff ( baculum ). In the so-called coronation form of Æthelred the Unready , a sceptre ( sceptrum ), and a rod ( virga ) appear, as they do also in the case of a coronation order of the 12th century. In a contemporary account of Richard I ’s coronation , the royal sceptre of gold with a gold cross ( sceptrum ), and the gold rod with a gold dove on

1088-576: The Arkadia) did not enter production until after the war, as was also the case with the Arkadia table set. Porcelain figurines of different styles corresponding to each era have always been created under the guidance of the master workshop, including the modern animal sculptures, such as the miniature Buddy Bear or the Knut Bear . Before KPM was founded, two attempts had already been made to establish

1152-588: The Etruscan. Under the Republic , an ivory sceptre ( sceptrum eburneum ) was a mark of consular rank. It was also used by victorious generals who received the title of imperator , and its use as a symbol of delegated authority to legates apparently was revived in the marshal's baton . Under the Roman Empire , the sceptrum Augusti was specially used by the emperors, and was often of ivory tipped with

1216-405: The Great took over the manufactory from the Berlin merchant Johann Ernst Gotzkowsky on 19 September 1763, he also provided the brand's emblem: the cobalt blue sceptre from the electoral coat-of-arms of Brandenburg. The porcelain is marked after the first firing and before the glazing process. Before the sceptre is applied to the porcelain, the item is subject to strict quality control measures. In

1280-643: The Roman Empire. Applied to pottery, it is first seen in Persian mina'i ware from the late 12th century, using a group of seven main colours. Presumably the potters learnt the technique from glassmakers. Slightly later it appeared in Chinese ceramics in Cizhou stoneware from as early as the 13th century, with use on porcelain following within a century, though it did not become predominant until later, and

1344-644: The Royal Porcelain Manufactory Berlin and became the sole shareholder. In the same year, KPM opened its newly designed sales gallery in the historic kiln room. Additional KPM shops are located in Berlin, Potsdam, Hamburg and Cologne. In 2007, the company opened the KPM WELT exhibition at the KPM QUARTIER, a company museum dedicated to the company's 250 years of history and craftsmanship of making porcelain. In 2011, KPM designed

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1408-467: The advent of Christianity , the sceptre was often tipped with a cross instead of with an eagle. However, during the Middle Ages , the finials on the top of the sceptre varied considerably. In England , from a very early period, two sceptres have been concurrently used, and from the time of Richard I , they have been distinguished as being tipped with a cross and a dove respectively. In France,

1472-405: The beginning, the trademark was applied in blue on white porcelain and in brown on painted porcelain. In 1837, the letters KPM were added to protect the brand from counterfeits. A few years later, the royal Prussian eagle became part of the trademark. In the following decades, the trademark underwent slight changes until the production was transferred to Selb. In those years (1944–1957), the porcelain

1536-556: The company was established 250 years ago. Among the table services currently in production, there are three Rococo forms (ROCAILLE, NEUZIERAT and NEUOSIER), which originally were commissioned by Frederick the Great for his various palaces, and there are designs from the Classic, Art Nouveau and Bauhaus periods as well as from the present: Under the auspices of the KPM workshop, porcelain figurines of many different styles have been created in

1600-415: The decors of KPM Berlin are hand painted. The porcelain painters are free to interpret the motifs within the design specifications. When finished, the painter signs the porcelain he has decorated. KPM has created a large number of services, vases and figurines. The manufactory draws from an ever-growing stock of more than 150,000 moulds. Some of the moulds have been in production more or less unmodified since

1664-554: The design was too daring for the court, as the bride was depicted naked. Theodor Schmuz-Baudiss recognised the artistic significance of the design and had it transformed into porcelain in 1908. The Wedding Procession was awarded the gold medal at the 1910 World Exposition in Brussels. After the demise of the monarchy in 1918, KPM became the State Porcelain Manufactory Berlin. However, the KPM mark and

1728-539: The era of New Objectivity were reissued. After the triumphant success of a vase collection launched in 1994, KPM presented the BERLIN dinner service, created in cooperation with the Italian modernist designer Enzo Mari . From 1998 to 2003, the KPM QUARTIER was refurbished. At the same time, the production technology was updated. In 2006, after several previous attempts at privatisation, Berlin banker Jörg Woltmann took over

1792-525: The exterior and interior of a Bugatti Veyron Grand Sport “L’Or Blanc” in cooperation with the car manufacturer. In 2012, a Bugatti Veyron Grand Sport “Wei Long” was outfitted with dragon motifs. On the occasion of KPM's 250th anniversary in 2013, the special exhibition Royal Porcelain Manufactory Berlin 1763-2013 provided a representative overview of the manufactory's creative periods, with 300 works from 18 private collections. When Frederick

1856-412: The full possibilities were not realized until the 17th and 18th centuries in the famille jaune, noire, rose, verte group of palettes. Some techniques use thin metal leaf, including mina'i ware as well as the more usual pigments, which are typically applied in a liquid or paste form, painted by brush, or using stencils or transfer printing . The Japanese kakiemon style, and other Japanese styles, used

1920-406: The government of India decided to install this golden sceptre, Sengol in the newly inaugurated Indian Parliament . The presentation of the sceptre to the first Indian Prime Minister in 1947 was claimed as a 'symbol of transfer of power from British to India', which has been stirred up debates among few historians, who point to the lack of sources that portray the event as an official event. With

1984-417: The harder lines of Neoclassicism. Frederick the Great's successor, his nephew Frederick William II was not much interested in the factory, but it continued to flourish. He obtained what he needed in the way of porcelain from KPM, but stopped paying cash. The amounts due were deducted from his share of the profits. From 1787 onwards, the average annual net profit came to more than 40,000 thaler. In 1790,

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2048-518: The historic premises in Berlin's Tiergarten district after they had been rebuilt. As a result of a resolution adopted by the Senate of Berlin in 1988, KPM became a limited company and was now called KPM Königliche Porzellan-Manufaktur Berlin GmbH . In the 1990s, KPM began to re-emphasize its cultural and craft traditions. It rediscovered historic shapes, colours and patterns. Important dinner services from

2112-546: The image of a new Berlin in the eyes of other European sovereigns. In 1867, KPM had to make way for the construction of the Prussian Parliament close to Potsdamer Platz . The new building was on the edge of the Tiergarten. It cost 360,000 thaler. On account of its position by the river Spree, it was now possible to transport raw materials and manufactured goods on barges. Constructed between 1868 and 1872, it

2176-571: The interior decoration of the rooms in which they were to be used. Frederick commissioned the first KPM table service in 1765 for the New Palace, Potsdam . The dinner service known as Reliefzierat (see illustration) was designed in the Rococo style by modelling master Friedrich Elias Meyer, who would later design many more services for the king. The ornamentation of the relief, made of gilded rocailles and flower espaliers , finds its counterpart in

2240-539: The king saw Esther the queen standing in the court, she obtained favor in his sight; and the king held out to Esther the golden scepter that was in his hand. So Esther came near, and touched the top of the scepter." Among the early Greeks , the sceptre ( Ancient Greek : σκῆπτρον , skeptron , "staff, stick, baton") was a long staff, such as Agamemnon wielded ( Iliad , i) or was used by respected elders ( Iliad , xviii. 46; Herodotus 1. 196), and came to be used by judges, military leaders, priests, and others in authority. It

2304-545: The last 250 years. One of the highlights is the Prinzessinengruppe (Two Princesses), a statue based on the design by Johann Gottfried Schadow. It was created in 1795 for a double royal wedding, and is considered to be a major work of early Classicism. Animal sculptures have played a significant role throughout the history of KPM. The Berlin manufactory's works artfully illustrate nature. A clever play of light and shade, and naturalistic decoration make them appear lifelike. The numerous animal figurines continue to include designs from

2368-622: The leaders of the Achaeans , he lends him his sceptre. Among the Etruscans , sceptres of great magnificence were used by kings and high priests. Many representations of such sceptres occur on the walls of the painted tombs of Etruria. The British Museum , the Vatican, and the Louvre possess Etruscan sceptres of gold, elaborately and minutely ornamented. The Roman sceptre probably derived from

2432-847: The manufactory's early days up to the present day. Artists and designers of style periods from Rococo to Modernism have created vase designs for the manufactory. Around 1820, several classicist vases were designed by Karl Friedrich Schinkel like Trompetenform (trumpet shape) or Fidibus. The Halle vases made in 1931 in collaboration with Burg Giebichenstein Art School are true to the ideal of Bauhaus. Inspired by basic geometric shapes like ellipse and cone ceramic artist Friedlaender created seven harmoniously proportioned vases. 52°30′54″N 13°20′00″E  /  52.51500°N 13.33333°E  / 52.51500; 13.33333 Sceptre A sceptre (or scepter in American English )

2496-578: The manufactory's new owner. He purchased the manufactory for the considerable sum of 225,000 thaler and took over the staff of 146 workers. He gave the business its name and allowed it to use the royal sceptre as its symbol. From then on, it was called the Königliche Porzellan-Manufaktur Berlin ("Royal Porcelain Manufactory Berlin") and became a model of how to run a business. There was no child labour, there were regular working hours, above-average incomes, secure pensions,

2560-480: The manufactory, and they were to be found at the court of the tsars in Russia and on the tables of European aristocracy. The factory was mainly known in this period for dinner services, with a fine white porcelain body with "a faint yellowish, slightly grey tinge". As would remain the case, the painting in overglaze enamel was of very high quality. The services’ design and colouring was meticulously created to match

2624-452: The metal surface is sunk to form areas where the enamel is poured. In Chinese porcelain , enamels were and are sometimes applied to unglazed pieces; this is called "enamel on the biscuit " and similar terms. Enamel was used in jewellery, applied to metal, from very early on - there are examples in the Tomb of Tutankhamun of c. 1325 BC. Enamel was also used to decorate glass by the time of

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2688-489: The nights of 22 and 23 November 1943, the manufactory's premises were destroyed in an Allied air raid. After World War II, KPM moved into temporary quarters in Selb, Upper Franconia, where there had once been plans to enlarge the company. From Franconia, KPM continued to supply the market with decorative porcelain and tableware. In the meantime, some of the staff reconstructed the Berlin premises. In 1957, manufacturing returned to

2752-402: The orb differs according to the type of decor. A red orb indicates all floral painting as well as figurative scenes and landscapes. A green orb is used for all non-floral decorative elements. Items with a blue orb are fired at a very high temperature and are dishwasher safe. A black orb is used to mark items with printed decor – for example, customized pieces featuring company logos. Generally,

2816-525: The post of chief modeller. However, technical difficulties and the Seven Years’ War between Prussia and Saxony soon proved to be the enterprise's downfall. In 1757, he dissolved his company and sold its inventories, equipment and materials to the Berlin businessman Johann Ernst Gotzkowsky . In 1761, the second porcelain manufactory in Berlin started its operations. Gotzkowsky concluded an agreement with Wegely's chief modeller, Ernst Heinrich Reichard, who

2880-407: The royal exchequer was in the red on account of the war, Gotzkowsky believed that he stood little or no chance of obtaining assistance from the king. The end of the war also signalled the end for Gotzkowsky's manufactory. Today, the porcelain pieces from the early days marked with a W for Wegely und a G for Gotzkowsky are rare and collector's items. On 19 September 1763, Frederick II officially became

2944-417: The royal sceptre was tipped with a fleur de lys , and the other, known as the main de justice , had an open hand of benediction on the top. Sceptres with small shrines on the top are sometimes represented on royal seals, as on the great seal of Edward III , where the king, enthroned, bears such a sceptre, but it was an unusual form; and one of the sceptres of Scotland , preserved at Edinburgh , has such

3008-431: The sceptre were retained. Under the new director, Günther von Pechmann, the ideas of Deutscher Werkbund and Bauhaus influenced the craftsmen of KPM Berlin from 1929 onwards. The aim was to design contemporary, matter-of-fact household porcelain. Famous designs of this time encompass Trude Petri's dinner service URBINO, and Marguerite Friedlaender's Halle vases, created in cooperation with Burg Giebichenstein Art School. In

3072-630: The second firing is usually called a muffle kiln in Europe; like other types of muffle furnaces the design isolates the objects from the flames producing the heat (with electricity this is not so important). For historical overglaze enamels the kiln was generally far smaller than that for the main firing, and produced firing temperatures in the approximate range of 750 to 950 °C, depending on the colours used. Typically, wares were fired for between five and twelve hours and then cooled over twelve hours. This ceramic art and design -related article

3136-527: The start, Gotzkowsky appointed Friedrich Elias Meyer, a pupil of Johann Joachim Kändler at the Meissen porcelain factory, Germany's leading porcelain maker, to the post of chief modeller, and Carl Wilhelm Boehme to the post of head of the porcelain-painting department. Gotzkowsky bought another building next to his own property at Leipziger Straße 4, and he began to build a manufactory on the site. Nevertheless, Gotzkowsky's finances began to deteriorate. Since

3200-594: The stucco ceiling of the New Palace. The following years saw the appearance of the Neuzierat , Neuglatt , Neuosier and Antique Zierat (later named Rocaille ) dinner services, which are still produced today. In 1784, after a four-year development period, the king's desire for a soft and delicate shade of blue was fulfilled. The colour was known as Bleu mourant ("dying blue"), and it was used to decorate Neuzierat , Frederick's favourite dinner service. The colour

3264-504: The technique from at least the second half of the 17th century. The technique was also developing in Europe, firstly in what the French called petit feu faience , and in the 18th century in porcelain, and there appears to have been some influence in both directions between Asia and Europe. From about 1770 to the mid 20th century it was the dominant decorative technique in expensive pottery, mostly porcelain, made in Europe, East Asia, and (to

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3328-456: The text deals with the just and the cruel sceptre, respectively, furthering the thought on the ethical behaviour of the ruler discussed in many of the preceding and the following chapters. The ancient treatise says it was not the king's spear but the just sceptre, known as "Sengol" in Tamil, that bound him to his people—and to the extent that he guarded them, his own good rule would guard him. It

3392-557: The top ( virga ), enter the historical record for the first time. About 1450, Sporley, a monk of Westminster , compiled a list of the relics there. These included the articles used at the coronation of Saint Edward the Confessor , and left by him for the coronations of his successors. A golden sceptre, a wooden rod gilt, and an iron rod are named. These survived until the Commonwealth , and are minutely described in an inventory of

3456-693: The two types of decoration. In such cases the first firing for the body, underglaze decoration and glaze is followed by the second firing after the overglaze enamels have been applied. The technique essentially uses powdered glass mixed with coloured pigments, and is the application of vitreous enamel to pottery; enamelled glass is very similar but on glass. Both these latter two are essentially painting techniques, and have been since they began. In contrast, on metal painting in enamel arrived very late, long after techniques such as cloisonné , where thin wires are applied to form raised barriers, which contain areas of (subsequently applied) enamel, and champlevé , where

3520-475: The use of Seger's glazes, and thus brought KPM fame and admiration at international art exhibitions. KPM's Wedding Procession is one of the most significant pieces of Berlin Art Nouveau. The sculptor, Adolf Amberg, created the design of centerpiece consisting of several figurines made of silver, in honour of the wedding of Crown Prince Frederick William of Prussia and Cecilie of Mecklenburg-Schwerin. However,

3584-541: The wall plate showing a view of Berlin Cathedral. Oxblood , celadon , crystal- and dripped glazes were created, inspired by Chinese ceramics . They enabled new forms of artistic expression, which made Seger into an early pioneer of Art Nouveau . In 1886, Alexander Kips was appointed artistic director of KPM Berlin. With painted porcelain tiles, he helped the company to achieve commercial success. His successor, Theodor Schmuz-Baudiss, artistic director as of 1908, promoted

3648-408: Was a leader in the production of pictorial and veduta porcelain among the big European manufactories. One of the most important veduta painters was Carl Daniel Freydanck. Under the leadership of Georg Friedrich Christoph Frick, the manufactory's managing director from 1832, Freydanck designed a series of works depicting beautiful cityscapes of Berlin and Potsdam. Presented as regal gifts, they shaped

3712-662: Was a practice of ancient Indian kingdoms and dynasties, such as the Chola kings, to use a symbolic sceptre during coronations. One such sceptre was presented to Jawarhal Nehru on 14 August 1947 by the Thiruvavaduthurai Adheenam symbolising the transfer of power as followed by Ancient Hindu kings . It was displayed in the Allahabad Museum under the then Indian government wrongly marked as 'Golden walking Stick Gifted to Pt Jawahar Lal Nehru'. In 2023,

3776-610: Was equipped with the most modern techniques of the day. KPM has always been a pioneer in the ceramic industry from a technological aspect. This is particularly true regarding the discoveries and technical progress that came about in the late 19th century. Since 1878, the manufactory has been associated with a Chemical-Technical Research Institute. The institute's director, Hermann Seger , produced innovations that substantially increased KPM's proficiency in designing moulds and working with colours. Among his inventions, Seger developed new kinds of porcelain underglaze colours, as can be seen on

3840-520: Was in possession of the secret formula known as the arcanum . Reichard received 4,000 thaler for the arcanum , and another 3,000 for the stock of porcelain and other materials. Furthermore, he undertook to work for Gotzkowsky as a keeper of the arcanum and as the manager. Gotzkowsky also agreed to take over Reichard's eight workers. Appreciated and supported by the King of Prussia, Gotzkowsky managed to attract important artists and qualified employees. At

3904-399: Was marked with the letter “S” underneath the sceptre. In 2000, the letters KPM were reintroduced as part of the logo. Since 1803, painted porcelain has been receiving an additional mark in over glaze-colour to confirm the authenticity of the decor. Today, an imperial orb is usually stamped next to the sceptre. It is proof that the decor has been done by a KPM porcelain painter . The colour of

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3968-698: Was mostly called ĝidru in Sumerian and ḫaṭṭum in Akkadian . The Biblical Book of Genesis refers to the sceptre of Judah . "The sceptre shall not depart from Judah, nor a lawgiver from between his feet, until Shiloh come; and unto him shall the gathering of the people be." In the First Persian Empire , the Biblical Book of Esther mentions the sceptre of the King of Persia . "When

4032-504: Was predominant in the king's private chambers at Sanssouci Palace and in the blue chamber of the New Palace in Potsdam, as well as in other castles. Towards the end of the century Neoclassical designs were introduced, beginning another enduring feature of the factory; this began in the 1770s, so preceding Frederick the Great's death in 1786, despite his own preference for Rococo styles. The cheerful soft-brush forms of Rococo gave way to

4096-570: Was under the spell of the Rococo style during his life; a culmination of this artistic style can be seen in his castles. To this day, the most successful designs of the 1930s are the Urbino, Urania and Arkadia (originally a tea set designed in honor of KPM's 175th anniversary) created by Trude Petri . The Arkadia medallions were created by Siegmund Schütz and the Urania set (with the same basic form as

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