PMA-Biografien of artists and SS-personal

From 1923 he was an outfitter on various stages in Berlin, initially without success. Politically, he was a member of the völkisch-minded, anti-Semitic Kampfbund for German culture, in 1931 he joined the SS and 1932 in the NSDAP. In 1932 von Arent was the founder of the “Federal National Socialist stage and film artist”, who was renamed “Kameradschaft der Deutschen Künstler” in 1933. After the seizure of power of the NSDAP Arent belonged to the board of the Reichstheaterkammer. In addition to his work as a stage designer, especially for the Goebbel’s controlled German Opera House (the previous City Opera Berlin), he also designed medals and uniforms and he endowed political events.

After personal assignments for Adolf Hitler in 1936 Arent was appointed Reichsbühnenbildner (in the vernacular: “Reibübi”), a title that was mainly intended to underscore Arent’s exemplary position as a set designer and outfitter NS-compliant theater productions. Occasionally, Hitler imposed his own stage designs on a kind of teacher-student relationship, a relationship that co-founded the career of the stage set designer. Hitler described him in 1942 in a table talk as one of the three most important stage designer, but although he could launch Arent on various stages, he did not succeed in accommodating him at the Bayreuth Festival. Arent, whose artistic views were shared and probably influenced by Hitler, favored a realistic, often monumental style in his own stage sets and costumes, which he credited with popularity and intelligibility tried to give mass effect. However, he was unable to develop or even enforce his own style at the outbreak of war in view of artistically significant competition.

His role as a festival designer during major marches also affected his stage style, including the political convention of the Meistersinger. 1936 Arent was commissioned to supervise the stage designer and presidential council of the Reichstheaterkammer. On April 20, 1937, he received the title Professor, like many leading Nazi cultural officials. In addition to his party responsibilities, Arent continued to work as an architect. His most famous work was the design of the “Berlin house of the German Work Front (DAF)”. In spring of 1939 Arent was appointed “Reich Commissioner for Fashion”, an office that was dissolved due to the war but after a short time.

During the War against the Soviet Union in the World War II Arent, who joined the SS in 1931, belonged to the staff Heinrich Himmler. On August 15, 1941, according to his records, he was an eyewitness of a war crime at Minsk, where partisans and Jews were murdered. Arent also became a member of the Waffen-SS in 1944 and was named SS-Oberführer. At the end of the war, he became a Prisoner of War by the Soviets and was released in 1953. In the meantime his Sudeten German Journal (1939) was added to the List of the literature to be discarded in the Soviet Occupation Zone. In 1956 a denazification procedure was filed in Berlin and shortly after his sentencing Arent died.

The ink dispenser and cigarette case design is by Benno von Arendt

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 1920 Lindig became an apprentice in the ceramics department of the pottery workshop taken over by the Weimar State Bauhaus and in 1922 he passed his journeyman’s examination and took over the technical management of the Bauhaus pottery with his brother-in-law. There he produced designs that were used to produce coffee and tea sets, bowls, vases and jugs in the ceramics workshop after 1925. He received the “Grand Prix” at the Paris World Exhibition in 1937 for a vase. A year later he took his master craftsman’s exam in Dornburg (central Hesse). After the Bauhaus workshop closed in 1930, Lindig continued it as a private tenant and was able to continue his ideas of modern design, but the workshop remained unprofitable.

G. Huber tells us that the PMA tried to recruit Lindig as an employee, which led to an agreement in October 1941, as a result of which Lindig decided to give up his clientele and work with the PMA. Lindig developed a new tableware shape and by the end of the year delivered a coffee and tea service and vases that were met with great acclaim by Oswald Pohl. They went into production and were sold in the Allacher shop in Berlin.

After the war, Lindig was called to the Hamburg Art Academy and headed the ceramics class there until 1960.

Löffelhardt was recruited as a draftsman for porcelain, as G. Huber reports, by the PMA to design tableware that was then manufactured at the Bohemia Ceramic Workshops. In 1937, he also designed the “Beauty of Work” tea service made by Rosenthal for the Reich Labor Service, which was then produced from 1937 to 1945. Until 1942, Löffelhardt worked with the product designer Wilhelm Wagenfeld. The success of Löffelhardt’s tableware, made by Bohemia on behalf of the PMA, upset the calculations because the PMA’s in-house artist, Theodor Kärner, earned significantly less in 1942 than Löffelhardt.

After his military service in 1941, Löffelhardt did not return from Soviet captivity until 1947, where he worked in the design department in Stuttgart and continued to design for industry.

​

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.

The invention of underglaze painting, in which the color is applied before the second firing, also contributed significantly to the artistically high-quality animal sculptures. One thinks of the many animal sculptures by modelers, sculptors, and painters such as Theodor Kärner, Hans Behrens, Wilhelm Neuhäuser, and Willy Zügel, all of whom contributed significantly to the success of the Nymphenburg Porcelain Manufactory. Neuhäuser also designed models for the Schwarzberg Workshops for Porcelain Art, as G. Huber reported. For the PMA, he designed only the very well-known “Long-eared Owl,” but was still listed among the employees in 1940/41, although he doesn’t appear to have supplied any further models.

Neuhäuser was already a member of the Nazi Party before 1936. However, his relationship with National Socialism seems to have been somewhat unspoiled. Huber knows from Neuhäuser’s personnel files that in September 1936, “official party proceedings” were pending against the artist, who was then living in Cologne. His attempt to leave the party failed, however. After 1945, Neuhäuser continued to live in Dachau, where he remained until his death in 1960. There is now a Wilhelm Neuhäuser Street in Dachau.

  The design 85 Long-eared Owl was created by Wilhelm Neuhäuser.

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).

At just 23, she became head of the advertising department. In 1933, she married Ernst Rüdiger von Brüning, 29 years her senior. Brüning died in 1936, leaving his wife with large debts. In 1938, she, who had joined the Nazi Party at an early age, decided to have a third child out of wedlock at the “Haus Lebensborn” home in Steinhöring (Upper Bavaria).

At Lebensborn, she met Heinrich Himmler, who introduced her to Oswald Pohl, whom she subsequently married in December 1942. From then on, Eleonore Pohl became involved with artistic matters at the PMA and repeatedly visited the Bohemia Manufactory. She worked without royalties solely for ideological reasons and became the author of The Christmas Gift Plate of 1944.Her child, born in 1944, suffered from a mental disorder, and she herself committed suicide in 1968.

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

Wilhelm Wagenfeld was born to Heinrich Wilhelm Wagenfeld and Elisabeth Wagenfeld, née Wichmann, at Vollmersstraße 52 in Bremen-Walle. His sisters, Anna and Auguste, followed in 1902 and 1904, respectively. He grew up in a strongly social democratic household; his father was a representative of the transport workers at the port.

Wagenfeld completed an apprenticeship as an industrial draftsman at the Bremen silverware factory Koch & Bergfeld in 1914. From 1916 to 1919, he simultaneously attended the Bremen State School of Applied Arts, then the Hanau Drawing Academy, before spending a few months at the Worpswede Artists’ Colony. Wagenfeld completed a three-year apprenticeship at the Bauhaus in Weimar from 1923 to 1926, completing which he completed with a journeyman’s examination as a silversmith and chaser. He then went to the newly founded Weimar State School of Architecture as an assistant and took over management of the metal workshop in 1928. This was followed by a period at the Jena glassworks Schott & Gen, where he worked as a freelancer. During this time, Wagenfeld created many fireproof glass designs that are still in production today. From 1931 to 1935, Wagenfeld held a professorship at the State Art School in Berlin, after which he took over the artistic direction of the Vereinigte Lausitzer Glaswerke (VLG).

From 1935 onward, he also turned his attention to porcelain, designing tableware for Rosenthal (the “Daphne” service) and Fürstenberg, and also establishing contact with the Hutschenreuther porcelain factory.

After taking over the Bohemia company in 1940, PMA was able to design and produce tableware independently. They then succeeded in persuading Wagenfeld, a now renowned tableware designer, to sign a contract to work exclusively for the SS factory. In November 1943, Wagenfeld terminated the contract because, up to that point, none of Wagenfeld’s designs had reached production.

Wagenfeld was drafted into military service in 1943. Because he refused to join the Nazi Party, he was first sent to the Western Front and later to the Eastern Front. After his return from Soviet captivity in mid-1945, he again held a professorship at the Berlin Academy of Fine Arts from 1947 to 1949.

Moving to Stuttgart, he founded the “Wagenfeld Workshop” in 1954 and ran it until 1978, working for the companies WMF, Johannes Buchsteiner, Braun, and Rosenthal. His awards began in 1937 with the Gold Medal at the World Exhibition in Paris and culminated in 1982 with the Federal Prize for “Good Form.” He died in Stuttgart in 1990, but his grave is in Collex-Bossy, Switzerland.

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.

In the title of his book, Koch referred to the head of the SS Economic and Administrative Main Office (WVHA), Oswald Pohl, as “Himmler’s gray eminence,” which describes his work in the Nazi state well.

His parents were the blacksmith and factory foreman and his wife Emilie, née Seifert. Pohl’s first wife was Margarethe Pohl, née Lehmann, and his second wife was Eleonore Pohl, née Holtz. After elementary school, he attended the Hamborn High School until he graduated in 1912. He then entered the Navy Paymaster career, which he held in World War I after the main paymaster examination with the rank of Lieutenant. From May 1919 to July 1920, he joined the Loewenfeld Free Corps Brigade and was taken into the Reich Navy in 1920. It was not until January 31, 1934 that he finally retired from naval service. In addition to his naval service, he had taken part in commercial school courses and studied law and political science at Kiel University without graduating.

The Reich Leader of the SS, Heinrich Himmler, who recruited him from the SA, noticed Pohl as a particularly talented organizer. After switching to the SS, he quickly rose to become head of administration at the SS headquarters and head of the steadily growing SS companies. A lesser-known position in the Nazi system was that of ministerial director in Himmler’s Reich Ministry of the Interior.

In 1942, Pohl took over the management of the newly created SS Economic and Administrative Main Office and also headed the economic enterprises office group, a position he held until the end of the war. There is no doubt that this gave Pohl a key position in the Holocaust structure, as the concentration camps were also subordinate to him and he had control over the use of prisoners in armaments production. He headed all the concentration camps. The period after the end of the war, the circumstances of his capture and the Nuremberg follow-up trial with Pohl as the main culprit at the center are not discussed.