The production of porcelain at the Royal Manufactory (KRM) in Berlin began in 1763. The company's hallmark, serving as evidence of the highest quality, depicts the emblematic scepter of the Prussian monarchs. Currently, it is supplemented with the abbreviation KRM and is applied through the stamping method, with blue ink under the glaze. Almost all of the manufactory's products are handmade, using unique historical technologies. Vases, sets, and reliefs with exquisite artistic paintings, as well as sculptural figurines in the Rococo style, are particularly popular. In 1751, the Berlin wool merchant Wilhelm Caspar Wegeli approached the Prussian King Friedrich II (the Great) requesting his patronage. Wegeli wanted to produce porcelain that was equal to Meissen porcelain. He expected the king, a great connoisseur of fine ceramics, to grant him special privileges: exemption from import duties on raw materials and protection from all forms of competition. Additionally, he asked for the allocation of the Commandant's House on Friedrichstrasse for production, in the most aristocratic area of Berlin. Friedrich II not only agreed to these conditions but also added another privilege - he kept the recipe for the porcelain secret, acquired by his protégé. No one was supposed to know the exact composition of the raw materials. Even customs officers were not allowed to inspect Wegeli's barrels when transporting kaolin mass across the border. The workers of the manufactory took an oath of secrecy regarding the intricacies of the production process. This step by the king was not a spontaneous act of generosity - exclusive porcelain was simply more expensive. Wegeli invested a lot of effort into the development of the manufactory. Sculptor Ernst Heinrich Reichard, invited by him, created a series of models in the Rococo style, which was Friedrich II's favorite. Luxurious compositions with allegories, putti, or gallant scenes from high society life were in no way inferior to Meissen porcelain. Reichard also improved the recipe for porcelain mass, which allowed for the production of thinner and stronger items. He was assisted by two painters: Isaak Klaus and Friedrich Roth. In 1756, Friedrich IIII attacked Saxony, accusing it of supporting the anti-Prussian coalition. Among other cities, he captured Meissen, gaining control over the porcelain factory and its warehouses in Dresden and Leipzig. By forcing the Saxons to work for him, the Prussian king lost interest in his own production. Additionally, he sold the stocks at a reduced price to Heinrich Carl von Schimmelmann, a major supplier of provisions for the army. This led to a general decrease in the price of porcelain. In vain, Wiggel reminded the king of his royal privileges and even visited the Meissen factory in hopes of learning the secrets of his competitors. Frederick the Great, on one hand fascinated by the Saxon "white gold," and on the other hand obliged to spend almost all his funds on the army, refused to support the Berliner. And since the prosperity of Wiggel's factory depended on royal favor, it was short-lived. In 1957, the enterprise went bankrupt. The owner handed over the remaining funds and the right of ownership to the prominent financier and manufacturer Johann Ernst Gotzkowsky. A native of Poland, Gotzkowsky moved to Berlin at the age of 14, where he successfully studied trade and soon created his own empire selling grain, luxury fabrics, as well as luxury and art objects. Gotzkowsky's art collection laid the foundation for the Hermitage collection. However, the entrepreneur had the greatest influence on post-war Prussia. Gotzkowsky and Frederick the Great became close through their membership in the Freemasonry lodge. The king sought advice from the merchant on many economic issues, specifically commissioning him to engage in silk production in order to outpace France in the European market. In 1761, Gotzkowsky took on the revival of the Berlin porcelain factory. Taking advantage of Saxony's subordinate position, he invited two Meissen masters - sculptor Friedrich Elias Mayer and artist Karl Wilhelm Böhme. They developed samples of products. Gotzkowsky left the position of chief master modeler and arcanist of the enterprise to Reichardt. Additionally, he builtThe production facility is a new building, located next to their house on Leipzigstraße 4. Today, the production is still located at this address, just a few steps away from Potsdamer Platz and the Bundesrat of Germany. After receiving a second chance, the Berlin manufactory began to develop quickly. This was greatly aided by Meyer, the best student of the model master Johann Kandler from Meissen. The manufactory acquired a high status not only in Prussia, but also beyond its borders. Frederick II personally supervised the production, giving recommendations regarding the decor, style, and color scheme. At his initiative, the "signature" shade "Bleu Mourant," literally "dying blue," appeared on the services, which was popular at the Prussian court. In general, the manufactory was aimed at the taste of the aristocracy, and its products adorned the halls of palaces, creating a special and unique atmosphere. Following the example of other European rulers, Frederick used exclusive porcelain for diplomatic gifts. At present, KPM products from the Wiegell and Gotzkowsky periods are extremely rare and highly valued. They can be easily recognized by the letters "W" and "G" on the marks. Despite the popularity of early KPM, it should be purchased with caution, as the antique market is flooded with counterfeits. Gotzkowsky had grand plans for the new enterprise, but once again they were thwarted by war. Or rather, its economic consequences, which were devastating for the Prussian budget. Gotzkowsky himself also experienced difficult times – several of his major deals turned out to be unprofitable, and the specter of bankruptcy loomed ahead. Without waiting for support from the king, the merchant stopped paying wages to the workers, effectively halting production. On September 19, 1763, Frederick II bought out the porcelain manufactory for 225,000 Prussian reichsthalers. It was a large sum, which supported both the valued financier and the young enterprise. Under the royal patronage, the production flourished. The company received the status of the Royal Porcelain Manufactory and the letters "KPM" were added to the marks.With the scepter of Kurfürst of Brandenburg - the founder of independent Prussia.
On September 19, 1763, Frederick II purchased the porcelain manufactory for 225,000 Prussian reichstalers. It was a large sum that supported both the valued king's financier and the young enterprise. Under royal patronage, the production flourished. The enterprise received the status of the Royal Porcelain Manufactory and a hallmark with the scepter of Kurfürst of Brandenburg - the founder of independent Prussia.
The 146 employees of the RPM were given fixed working hours, mandatory medical insurance, and a pension. The factory ceased to use child labor, and families of workers who died on the production were provided with material assistance. Parallel to the improvement of social conditions, the technical capacity of the RPM increased, and the labor process was optimized. The workers' income far exceeded industry averages. This positively affected the quality of the products, which steadily improved.
Rococo motifs can be found in many porcelain factories in Germany, and the RPM was no exception. Frederick II particularly liked this fashionable, deliberately decorative style, despite his personal dislike for its creator, Madame de Pompadour. From 1763 to 1786, practically until his death, the Prussian king remained the largest and, as he put it, "the best customer" of the patronized enterprise. His collection included 21 sets from the RPM. Each one was created for a specific interior, taking into account the chosen theme and color scheme. For example, the gilded relief of the Neuzierat coffee set harmonized with the stucco on the ceiling of the New Palace in Potsdam. The dining ensembles included up to 500 items of tableware and obligatory sculptural compositions for the center of the table.
Currently, in addition to Neuzierat, three more services of the era of Frederick the Great are produced. These are:
In 1784, the Neuzierat parade polychrome decoration was replaced with a refined pale blue floral pattern, "Bleu Moura."The service was intended for the personal chambers of the king, designed in the same style. The modern enterprise produces not only both color options, but also an alternative - a purely white variety. In 1786, the royal patron of KRM died, leaving the management to his nephew, Friedrich Wilhelm II. The new owner, following the spirit of the time, abandoned the lavish rococo style in favor of the refined and strict empire style. Collaboration with the outstanding architect Karl Friedrich Schinkel, as well as the sculptors Johann Gottfried Schadow and Christian Rauch, allowed the enterprise to reach an incredibly high level. KRM porcelain was recognized as one of the best in Germany, especially in the field of artistic painting. The masters perfected the complex technique of "veduta" - a detailed depiction of cityscapes. The most prominent representative of this genre was the artist Karl Daniel Freydanck. At the age of 13, he studied at the school of the Royal Porcelain Manufactory, and then worked in the painting department for some time. His landscapes were distinguished by exquisite detailing and magnificent color. From 1832, Freydanck painted oil samples and templates for copying. He created numerous sketches of public buildings in Berlin and Potsdam, as well as beautiful castles in Silesia and the Rhine Province. The paintings were transferred to vases, decorative plates, or plaques using an episcopic projection apparatus, and then copied by porcelain painters. The painting technique of "veduta" based on historical examples is still practiced at KRM. In 1790, a dining service with 87 pieces was made for Duke Peter von Biron of Courland. Its main decoration was a relief border with gold leaf, designed in an antique style. Later, in honor of the first owner, the service was renamed "Courland". The design was created by the porcelain artist Johann Karl Friedrich Riese, who was inspired by traditional English silverware. The "Courland" service became popular and was immediately reproduced after its creation. Friedrich Wilhelm II granted Riese a title of nobility for his contributions to KRM.Elm II presented another set with a unique design of bright field flowers to his uncle, Prince Heinrich of Prussia. And for the 250th anniversary of KPM, two more versions of the design appeared: in black with 24-carat gold trim or in white with biscuit decorative inserts. Berlin porcelain is the eternal rival of Meissen in the battle for industry leadership. Collectors highly value both brands, but fame also has a downside. Manufacturers are more often targeted by counterfeiters. Counterfeits flooded the market as early as the 19th century, when small workshops painted rejected KPM "linens." To protect themselves from fraudsters, the company occasionally makes changes to its trademark. This significantly simplifies the attribution of KPM porcelain by year. The main mark is applied in cobalt after the first firing. Its presence confirms the high quality of the products and their compliance with technical standards. Then the items are glazed and fired again, after which the pigment is fused with the coating. Second-grade porcelain is marked with a specially ground line on the scepter. The top glaze layer may be absent. Decorative biscuit items are marked before the firing.
