Porcelain Manufactory in Allach

The National Socialists, who came to power in Germany in 1933, began to impose a new ideology. Strict regulation and tight control over every area of human life and activity contributed to creating an extraordinarily precise societal structure, which was reflected, first and foremost, not in monumental art but in the art of small forms—decorative productions and everyday objects.

A distinctive feature of all totalitarian systems is not only the desire to form their own official art but also to invade every area of human life, including the private sphere. For example, every newlywed couple was required to buy "Mein Kampf" upon marriage registration and hang a portrait of the Führer in their home.

Objects of daily use also became effective tools for manipulating mass consciousness. Even household items were 'called for ideological service' to the new order. The choice of themes and forms, motifs, and methods of decorating everyday objects was supposed to reflect the ideas of the German people's greatness, the military and civil might of the young Nazi state, and its close connection with the empire of ancient Romans.

The ideology of the new regime was most visually reflected in an elaborate system of symbols. The most widespread among them were the swastika (an ancient solar sign, in early civilizations associated with the idea of endless movement and thus accumulating potential energy), the eagle (companion of the supreme god Zeus/Jupiter, an imperial symbol since antiquity), the cross (an ancient symbol of four directions, four elements, the tree of life, and all might), the oak wreath or leaves (in German understanding, a symbol of vitality and immortality), swords (a symbol of military success), along with recognizable symbols from various human activities—submarines, torpedo boats, city coat of arms motifs, the head of the Greek goddess Athena, and more.

The porcelain items manufactured by factories of the Third Reich were distinguished not only by their imagery. The entire set of themes and motifs of small plastic works, votive plates and plaques, shapes of candlesticks and dishes reflected both the general political ideas of the totalitarian system and the nature of private life and everyday arrangement of the era.

Among the numerous porcelain factories in then-Germany, the Allach-Munich manufactory held absolute primacy, at least from an ideological point of view, being considered an 'SS enterprise' (others included the Apollinaris mineral water plant, Edel furniture factory, Nordland publishing house, and the firm that made swords for SS needs).

Officially, the manufactory, founded by personal order of Heinrich Himmler and his 'favorite brainchild,' began operating on January 3, 1936. However, it is known that it functioned as a private enterprise even before officially gaining the status of the country's main porcelain factory. This is evidenced by samples dated 1934 (notably the highly famous figure 'Standard Bearer'), as well as invoices recorded in the books for 1935. The founders included Himmler's personal friend Karl Diebitsch, sculptor and designer Theodor Kärner, and two more business partners—Bruno Galke and Franz Nagy.

Until December 20, 1938, the factory was under the jurisdiction of the cultural department (headed by Diebitsch) of Himmler's personal staff; Himmler himself was simultaneously the art director. He officially took charge in 1938, when the business came under the SS Main Economic and Administrative Office, serving mainly goals of political propaganda, developing taste, and raising the cultural level of 'true Aryans'—not rank and file, but 'chosen' SS members. Therefore, economic profit was not particularly significant, though before the war the enterprise saw up to 100% profit.

The factory's profitability dropped drastically during the war, especially in the early 1940s, due to reduced funding and worker mobilization. At that time, the labor of nearby Dachau camp prisoners was widely used. According to some memoirs, this began as early as 1939, and by 1941 there were 40–50 prisoners, reaching 100 by 1943. One regular worker could be replaced by two or even three prisoners. Despite Himmler's displeasure, some held fairly significant positions and their work in the factory sometimes saved their lives. For example, Karl Adolf Gross worked in accounting and recalled Polish student Jozef Sobczak painting porcelain. Others were involved in firing, casting, and grinding, and Hans Landauer, a prisoner, was entrusted to work on ideologically significant figures.

Very little is known about the final years of the factory; with the end of the war, it ceased to exist as a Nazi enterprise.

The history and character of Allach's porcelain production are best told by the objects themselves. The most significant items are rare today due to limited prewar runs, wartime bombings, and destruction. Many 'political' porcelain figures were destroyed even during the war, along with much of the archives. The only surviving original product list is the 1936 catalog of 40 items, which today is classified in the Library of Congress in the USA. Main sources for information are contemporary memoirs, several reprinted catalogs, and the surviving works, mostly distributed among private collections.

The most comprehensive consolidated list of Allach's models includes around 240 ceramic and porcelain objects. Their main specialization was small-scale plastic works, intended primarily as gifts to high-ranking officials, reflecting the core ideas of the Nazi movement: figures of military of different eras, peasants and artisans, athletes, gods, heraldic figures, symbolic images, and animals. The SS enterprise also produced prize plaques and decorative plates, usually as individual gifts. Mass production was limited to lamps and vases, also designed for ideological propaganda. Ordinary tableware was almost never made, except by special order for SS leaders or the Führer. All figures except the "Fencer" were glazed, some were painted, others left white.

Allach's ceramics are rare today. Among them are some of the most important works: the imperial eagle and Hitler's head, as well as the 'Julleuchter' lamp, the most copied item, produced purposefully without glaze to imitate ancient Germanic tribal art.

Glorious Past ...

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