Artists

From 1905 to 1918 he worked as a sculptor in the porcelain factory Nymphenburg in Munich, between 1918 and 1934 as a freelancer for the company Rosenthal in Selb. In 1917 Philipp Rosenthal (1855-1937) bought the porcelain factory in Bahnhof-Selb. Although belonging to the plc, it initially remained private property of the company owner. Around 1922, the production of art and decorative porcelain began there in full. From this time on, the permanent cooperation of Theodor Kärner should be expected there. It was very likely that it lasted well beyond 1934, although the sculptor had already quit the main plant in Selb.

In the porcelain factory Allach he was then employed until 1945 as artistic director. The porcelain factory Allach was at that time already an enterprise of the SS with branch office Dachau. Theodor Kärner was elevated there to the rank of SS-Hauptsturmfuhrer honorary. On April 20, 1938, he was appointed professor at the Academy of Fine Arts in Munich. In 1940 he participated in the Great German Art fair exhibition at the “Haus der Deutschen Kunst” in Munich. At the exhibition German artists and the SS 1944 in Breslau he was issued a “Malachowsky Husar”.

As part of the denazification he was interned from 1945 to 1947 in the camp Moosbach. After his dismissal Kärner was head of the art department of the porcelain factory Eduard Haberländer in Windischeschenbach in the years 1947-1953. There, a part of the collection from Allach was taken over and continued to be produced. Rosenthal employed Theodor Kärner again in 1953 as a freelancer and in the same year took over the art department from Windischeschenbach with all Allacher Kärner models, which were executed there until the closure of the art department in Selb.

Theodor Kärner works acknowledged at present: 52 models for Allach, 88 models for Nymphenburg, 114 models for Rosenthal and 51 models for Eschenbach.

The following models were designed by Prof. Kärner:

0 SS-Rider, 1 Young Dachshund – sitting, 2 Young Dachshund – lying, 3 Elephants – standing, 4 Elephants – sitting, 5 Bear – begging, 6 Bear group, 8 Bear – lying, 9 Bear with ball, 10 Mountain deer , 11 German Shepherd – small, 12 Fox Terrier – lying, 13 Dachshund, 14 Roebuck, 17 Seydliß-Kürassier Officer, 18 Ram, 19 Fox Terrier – standing, 20 Roaring Hirsch, 29 Guards Hussars Officer, 41 fawn – lying, 42 SS flag bearer , 60 Lying Deer, 61 Young Hare – sitting, 62 Finnish Bear, 65 Pilot, 66 Aviator Officer, 68 Squirrel, 74 Jumping Horse, 76 Great German Shepherd, 77 worker, 78 Fox with mouse, 79 Fox creeping, 80 Roebuck, 81 Munich Maid, 82 Amazon, 84 Fawn – standing, 88 Standing Bear, 90 Standing Horse, 91 Butterfly, 93 Guards Hussar, 94 Frederick the Great on Horseback, 97 Dragoons Officer, 102 Kids – lying, 105 Elephant – trumpeting, 107 Lamb – standing, 108 Goat fawn – standing, 115 hunting hussar, 121 Malachowski-Hussar, 149 Elephant, 151 Fawn – small, without model number Pallas Athena, K9 Steel helmet head.

Two years later he became a partner of the company Zierhut & Warrior who supplied craft items such as tableware and jewellery. He began to devote himself to animal sculpturing and was a freelancer for the ceramic workshops in Herrsching, where he acquired a piece of land.

In 1912 Krieger married the drawing teacher and ceramist Emilie Butters. Butters, born 1879 in Neustadt at Haardt, was a ceramics artist and drawing teacher. After a two-year apprenticeship at the Munich School of Applied Arts she began studying at the Lehr- und Versuch-Ateliers for applied and free art in 1905, a Munich art school named after Wilhelm von Debschitz. She was one of the first students of a commercial ceramic workshop there in 1907 under the direction of Clara Trueb produced plates, vases and small plastic art. Since 1911 she was artistic director of the painting department of the ceramic workshops in Herrsching. In 1916, two years after her closure, she returned to her first profession as a teacher. The couple had five children.

Wilhelm Krieger was a member of the United Workshops for Arts and Crafts, a Munich workshop company, which was one of the founders of the still existing German Werkbund. He participated from 1907 in exhibitions of the Munich Secession and before the First World War at the Great Berlin Art Exhibition. From 1913 he exhibited at the Munich Glass Palace, which in 1927 acquired his work “Buzzard, standing”. In the same year, Wilhelm Krieger was awarded the honorary title of Professor by the Bavarian Ministry of Culture. From 1937 to 1944 Krieger participated in the annual Great German Art Exhibition in the Haus der Kunst, which had been planned in Munich at the instigation of Adolf Hitler by his architect Paul Ludwig Troost. In the house, according to the National Socialists, “real” German art was to be presented. Wilhelm Krieger died on September 14, 1945 in Herrsching, his wife in 1962.

The following designs were made by Prof. Wilhelm Krieger:

110 Seidenschwanz, 111 Kohlmeise and K10 Eagle.

In 1895 he became a freelance sculptor and settled in Berlin. For some time – until 1924 – he lived and worked in the studio house Siegmundshof 11 in Berlin-Tiergarten, where August Gaul and since 1912 also Käthe Kollwitz had their sculptor studios. He then moved to Knesebeckstraße 45 and was given studio rooms at Hardenbergstraße 34 in the Hochschule für bildende Künste.

In 1900 he designed the Bismarck monument in Wuppertal-Bramen. His greatest success was in 1902 in the competition for a colossal Bismarck monument in Hamburg, as one of his two submitted designs. Other designs and monuments followed.

1911 was followed by the “Fischerpüddelchen fountain”, which later served as a model for the Allach porcelain factory.

After 1933, he was hardly noticed. Lederer was neither one of the “degenerate” artists, nor one of the “true German art” representatives who were exhibited at the “Great German Art Exhibitions” in Munich in 1937–1944.

At the end of August 1933, the bronze statue of his Hamburg Heine monument was cleared by the NS Senate (and melted down around 1943 for metal extraction). The 1.40-meter-high stone base, decorated with reliefs and the inscription HEINRICH-HEINE, was only removed after 1936. Lederer’s reactions to the destruction of his artwork have not been documented.

Lederer did not sign the “Call of the Creators” in 1934 in favor of Adolf Hitler.

His illness overshadowed the last years of his life and prevented him from working as an artist. At the age of 68, he died on August 1, 1940 of progressive paralysis in the St. Franziskus Hospital in Berlin. On August 5, a simple funeral service took place in the hospital chapel.

Only draft:

127 The fishing boy, replica of the Fischerpüddelchen fountain in Aachen.

In 1927 Franz Nagy acquired a 0.335 hectare property in Lindenstrasse, today’s Reinhard-von Frank-Str. 8, in the immediate vicinity of what was then Krauss & Comp. plc, for the purpose of later use. At that time he was employed as head of the art department at Rosenthal in Selb-Plößberg, where he also lived with his family. In 1933 he began planning a ceramic workshop on the Allach property. It was not until 1934, after Nagy bought a house in what was then Parkstrasse. 16 (today Rueßstraße) he commissioned the Allach construction company Albinstätter to build a so-called settler house with an apartment on the first floor and the workshop rooms on the ground floor. The Porzellan-Manufaktur-Allach (PMA) was founded in April 1935 by Franz Nagy in Allach, which was still a suburb of Munich until December 1938, initially as “Ceramic workshops Nagy” and registered with the Munich Chamber of Crafts. An extension took place in May 1935. The transformation into the “Porzellan-Manufaktur Allach-München GmbH” with the partners Franz Nagy (works manager), Theodor Kärner (sculptor), Karl Diebitsch, an SS man from the very beginning (painter) and Bruno Galke (businessman) took place in January 1936.

As early as 1937, the production facility, which had become too small, was relocated to the former powder factory on the site of the SS exercise and training camp near the Dachau concentration camp, today’s area of ​​the VI. Riot Police Department Dachau. A tour through this area by an experienced and highly knowledgeable expert on this area, Mr. Pappenfuß, is highly recommended. The former production building of the powder press plant from the time of the First World War no longer exists, but there are aerial photographs, site plans and a photo.

The manufacture in Allach was temporarily closed until 1941 Franz Nagy put the Allach factory back into operation together with Kärner, which Franz Nagy had been pursuing for a long time. Kärner’s cooperation as artistic director already shows that it was certainly not only ceramics that was produced there.

In October 1939 the final takeover by the General SS took place, which had been prepared for a long time in Berlin. After being urged several times Nagy and Kärner had to hand over their shares to the head of the office of the staff the Reichsführer-SS Dr. Walter Salpeter. The porcelain manufactory had been more and more appropriated by the SS leadership in the previous years and thus finally expropriated from Nagy and Kärner. However, all threads came together in secret with Reichsführer of the SS Heinrich Himmler, who had “big” plans for the small production facility.

In addition to the three artists Nagy, Kärner and Diebitsch, from various German porcelain manufacturers in Berlin, Dresden, Selb, Munich and others, had Richard Förster, Ottmar Obermeier, Prof. Benno v. Arent, Prof. Willy Zügel, Adolf Röhring, Wilhelm Neuhäuser and others engaged. This unique concentration of the best artists, designers, potters, porcelain painters and all the important craftsmen for the production of high-quality porcelain made it possible to produce the best porcelain objects, such as historical equestrian figures, animals, Morisk dancers and jugglers, candlesticks, vases, in the only nine years of existence of the Allach porcelain factory, but also to produce political figures and objects for everyday use.

The SS runes became the hallmark of the new porcelain. The manufactory’s program included a wide variety of art objects as well as tableware with a total of approx. 240 porcelain and ceramic models. A large number of custom-made products were also produced. During the war years, simple everyday objects such as ointment vials and canteen dishes were also produced in Dachau.

 

The Co-Founder of Allach Porcelain factory created the following models:

15, 15a, 16, 21, 21a, 22, 22a, 23, 23a all Baroque candle holder, 24 Group of Birds, 25 Group of Birds, 44 Young Rabbit – lying, 55, 56, 57, 63, all candle holders, 69 Cupid of Spring, 70 Cupid of Summer, 71 Cupid of Autumn, 72 Cupid of Winter, 105 Fox Terrier – standing, 109 The Victress, 500, 502, 503, 504, 505, 510, all Vases, standing Bear on socket without model number, Chandelier, K1 Urn with germanic motifs, K2 K2/I K2/II Germanic vase, K3 Pot with germanic motifs, K5 Large vase with old Germanic motifs, K6 Bowl with germanic motifs, K7 Germanic urn, K26 Wine mug and K31 Germanic wine mug.

From 1923 to the mid-1930s, Obermaier worked as a designer for Rosenthal, where he was commissioned with the design of idealized human sculptures on the basis of Greek and Roman classics. These figures, which primarily express physical aesthetics and athletic activity, carry titles like “disc thrower”, “winner” or “striding girl”.

From 1936 Obermaier also worked for the porcelain manufactory Allach, where he contributed some designs.

His porcelain sculptures idealized the National Socialist Ideal Arian body.

He also made a variety of medals, plaques, fountain plastic and tomb stones.

On the great German art exhibition in the house of German art to Munich, Obermaier was represented with thirteen works, two of which were bought by Hitler.

Obermaier was co-founder of the athletics department of the “TSV 1860 Munich” and created the Lion shield at the clubhouse.

The following designs were created by Ottmar Obermaier:

75 Dachshund, 83 Fencer, 100 Mother with child, 116 The Victress and K8 AH Bust.

He studied from 1894 to 1900 at the Academy of Fine Arts in Berlin and was the student of Otto Brausewetter, Peter Breuer and Ernst Herter, and was active in their studio from 1901 to 1904. In 1896 he won the 1st prize of the Academy of Composition of a drawing and 1900 for composition of a statue. 1904 was represented with three sculptures at the International Art Exhibition in Dusseldorf. In the same year he received a bronze medal at the World’s Fair in St. Louis, where he was represented with the bronze pessimist and snake.

In 1905 he opened his own studio and received an honorable mention of the Society for Berlin Art for his children’s group. From 1907 he made study trips to France and Italy and worked for 18 months in Florence. After his return he had his studio in the studio house Siegmunds Hof 11 in Hansaviertel. In 1911 he created the design for a porcelain figure of KPM, a portrait statuette of Crown Prince Wilhelm.

Among his better known early works is the chicken thief fountain on the Aachen Rathausplatz (1913). This was destroyed during World War II and replaced in 1953 by a replica. Castings of the chicken thief, of which there was also a smaller version, are located in the castle garden of Berlin-Köpenick and in the collection of Behnhauses in Lübeck. The porcelain manufacturer Allach sold as Model No. 126 a 27 cm high porcelain version. In 1921 Pagels created the mausoleum for Emil Possehl in the castle gate cemetery. He was also represented at Berlin cemeteries with graveyard arts, especially in the park cemetery Lichterfelde and on the Frankfurt main cemetery decorated the tomb Kremsky’s with a Christ figure designed by him.

Through the mediation of the horticultural director Erwin Barth, who came from Lübeck, he was commissioned in 1925 to create a group of figures that adorn the entrance to the Jungfernheidepark and at the same time symbolize the idea of ​​the Volkspark. Of the two-part group, only one of the two bears with playing children survived after the Second World War. 2011 was the establishment of a faithful replica of the second bear on the bear square in Volkspark Jungfernheide. At the time of National Socialism Pagels was known for his Adolf Hitler busts. Hitler acquired from Pagels the work Schwimmerin for 8000 Reichsmark. Pagels works were shown during the Nazi period in 1936 at the Great Munich Art Exhibition, where he was represented with marble and bronze busts of Field Marshal Wilhelm Keitel, Field Marshal Gerd von Rundstedt and Colonel General Walther von Brauchitsch. In the House of German Art in Munich in 1940, among other things, his bronze busts by Rudolf Hess, Joseph Goebbels and Benito Mussolini issued. His last work (1957) was a relief of Thomas Mann, which was attached to the Buddenbrookhaus in Lübeck Mengstraße.

Hermann Joachim Pagels created:

126 The Chicken thief based on his earlier work, the chicken thief fountain on Aachener Rathausplatz (1913).

On 29.12.1935 he married Liesel, born Fröber. Since Röhring had entered into marriage without a marriage permit of the Rasse- und Siedlungshauptamt-SS, he was punished “with a strict reprimand” letter dated 05.04.1937. In 1935 he went with the company Rosenthal, after it was deported from Neustadt, to Selb-Plössberg. “… I had a very good working relationship with the company Rosenthal and did not leave for political reasons, but to work with the well-known Professor Kärner in Munich…” In 1938 he went to the porcelain factory Allach for the reasons mentioned above Nagy and Kärner, whom he met when he joined Rosenthal.

Already in September Röhring was drafted into the Waffen-SS. At the end of April 1945 he was severely wounded in the defense of the Tiergarten quarter, with the painfully bitter consequence that his right hand was half paralyzed. In May 1945 seriously wounded he came in Russian captivity, from which he was released on July 30, 1945 as an invalid. In January 1946 he was automatically arrested as an SS man and was in the camp Auerbach until 30.05.1946.

In September 1946, some Neustädter manufacturers and refugees, who wanted to found a new existent, came to Röhring with the request for making molds and sulfur forms – for the local industry. Adolf Röhring immediately took up his learned profession as a modeler. On October 28, 1947, the saying of the district chamber Neustadt near Coburg was issued on “follower”.

On 11.09.1950 A. Röhring registered with the Gewerbeamt of the city administration Neustadt with Coburg the enterprise “Adolf Röhring, porcelain Atelier, new town with Coburg, Bavaria”, which until 30.09.1974 under his name and then until 31.05.1981 under the name of his wife Elise Röhring existed.

The following models were designed by Adolf Röhring:

30 green finch, 33 blackbird, 95 rising horse, 128 jays, 129 magpie, 132 mouse, 133 mouse, 143 flag bearer free corporal, 144 mouse, 147 candle holder, 150 mouse, 187 Romanian peasant group in costume, 191 + 192 Transylvanian couple, 505 porcelain – Vase, 512 candle holder, 515 crater vase, 519 porcelain vase, 757 golden eagle

Zügel became known for his small animal sculptures, with which he was represented in numerous galleries such as the National Gallery Berlin, the Kunsthalle Bremen or the Munich Municipal Gallery in Lenbachhaus as well as the art collection of the city Murrhardt.

He made models for the porcelain factory Philipp Rosenthal 1911-1926, the porcelain manufactory Nymphenburg 1911-1913, the porcelain manufactory Meissen and since 1935 for the porcelain manufactory in Munich-Allach, which opened up a wide audience.

In public order Zügel also created numerous monuments, including the Fallen monument of the First World War in Murrhardt and the monument to Theodor Christomannos.

Only design: 32 bear sitting – licking paw.