UBB.threads Forums Uniform & Accessories Imperial German Uniforms, Orders, and Decorations Imperial Allach ...

Actually, Willi, I really do not like the gilded units.

I like the plain white ones and love the coloured ones. The ones that show these gold accents do not do anything for me.

My blood pressure is fine, until the wife gets all excited about my latest finds, then off the charts it goes.

Beautiful items, guys.

John

Gents,

A special thanks goes to Tristan and our old mate Gary for snagging this photo for the thread. Gracias !

I thought this was going to be a special piece, but I stand corrected, it's way better than that. Just enough whimsey combined with an extraordinary sense of natural realism.

I'd be curious to know what the artist was thinking when he had this pair in mind? At first I thought they might be going for the same insect but there's none to be found ... perhaps just a close encounter for the frog coming face-to-face with this slow, alien reptile climbing over the stump..? Gustav Oppel for Aelteste Volkstedter Porzellanfabrik, 1920.

To me this is another of those fine sculptures that one can get lost in for a while, there's just a lot to take in and appreciate. Good fun for the eye.

G - Simon and Ethan will love seeing this. (grandsons who breed old-world chameleons) JZ - heh ...

Hope you guys enjoy.

Best!

Bill

Fellow Porcelain Patriots,

Here's the one I've been waiting for, a piece that I was instantly drawn to and curious about simply due to the graphic elements. I had no idea of what "Der rote Hahn," or "The red Rooster," represented in German lore or history? The Wappen, or city crest, belongs to Dresden and the date of the plate was a 'no-brainer,' heh. At first I thought maybe a famous old brewery or something along those lines? I didn't quite trust the seller's explanation - he mentioned that it had something to do with the 1935 Jahresschau Deutscher Arbeit, held that year in the venerable city of Dresden, which was additionally the home of the noble porcelain manufacturer, Meissen. Since the plate was produced by Meissen, too, things slowly started to take shape. Initial searches for the 1935 Jahresschau (JDA) didn't turn anything up, but led me to read an article about beer during the Middle Ages, in the town of Meissen. It told of how brewing good beer brought steady work to its citizens and how they prospered, etc. Alas, there were also a few drawbacks.

Brewing the mash in quantity called for great, roaring wood fires, the kind that kicks up plenty of sparks. Since the houses back then were chiefly constructed of wood and straw, these wild sparks could prove deadly, which they most certainly did. The text further mentioned, "Leicht sprang ihnen der rote Hahn aufs Dach, und oft wird von schrecklichen Feuern berichtet." In other words, the red rooster sprang easily onto these flammable roofs, and terrible fires were documented. So that was it then, the red rooster signified the sparks that caused fire and destruction?

There was also a popular 1901 play titled "Der rote Hahn," by G. Hauptmann, that opened in Berlin that same year. One of the play's central characters, Frau Fielitz, burns down her house so that she can claim the fire insurance money - jemand den roten Hahn aufs Dach setzen. (to make the red rooster sit on someone's roof)

Finally, another round of searches turned up what I was specifically after, information directly related to the 1935, Jahresschau Deutscher Arbeit exhibition. These national shows and competitions were greatly encouraged by the Party - a German celebration of guild-craftsmanship, decorative and the folk arts. 'Dicke Bonzen' like Walter Funk, Dr. Robert Ley and Paul Walter were closely associated with many of these cultural affairs, especially the large, international 'Handwerk' events.

One entry in the 1935 Jahresschau mentions several large handpainted plates or chargers by Meissen. It clearly lists two of the plates (in a series of seven) as, "Der rote Hahn," (the red rooster) and "Drei nebeneinander stehende Feuerwehrmänner," or three firemen standing together. From what I gather this series must have been an artistic tribute to the nation's firemen and fire-related subjects. I can truely say if this plate is any indication of the quality of the six others, they must be fairly nice, too. By the way, there's a unique gilding/painting process that I can't capture properly, due entirely to my modicum of photographic skills, sorry.

An additional bit of miserable irony to the story ... we all remember the horrible fate of Dresden in March of 1945, right? Well, I guess one could say the red rooster had his 'finest hour,' whilst visiting there. Very, very sad ...

I sincerely hope that the holidays bring each of you much luck and good fortune with your porcelain collections in 2012. All of your combined contributions these past months have made my collecting year that much better, thanks for that.

Best regards!

Bill Warda

Very nice item Bill.Thanks for posting another one of your excellent finds and the information behind it.

Great plate Bill, graphically it's superb especially his tail feathers that look to be designed to look like the flames spreading over the buildings, that's what I get from it anyway.

Thanks for the history, it really brings it to life.

G

Bill,

That's one heck of a nice plate! I think the reason given is a great explanation. But I just wanted to add that "the red rooster on a roof", refers to arson and pillaging. In the Norse sagas, we find one of the first references to the "red rooster" as a fire bird and Edda as the "black red rooster" which was the bird of the underworld. Also, the rooster crows at the break of every new dawn which symbolizes vigilance and victory, reasons why we see them on houses and barns. This dual symbolism of the red roaster embodies this theme of fire and protection.

A Jahresschau yes, but it was the first for the Deutsche Volkschau fur feurschutz und Rettungswesen, which was an exhibit held from June to September 1935 in Dresden and today is known as The Red Rooster, Interschutz. These shows continue to this day. The main theme of this exhibition in 1935 was " large fires in the community", so a contest was held to name this exhibition and come up with a logo. The prize winner was to receive 100 Reichsmarks and the individual who won this contest was Dresdener painter and graphic artist Helmut Müller-Molo who also designed the official advertising poster which is the same one shown on this fine plate.

The exhibits among other things included fire protection, fire extinguishing systems, rescue services, fire alarms, communications, water supply, emergency services, air protection and insurance. And among the exhibits, there was a special section for history and art which included the development of fire fighting equipment, paintings,engravings and photographs of fire disasters from around the world. They had some really old equipment that was shown. There's much more history but wanted to keep it as short as possible. Thanks.

You guys should write a book...seriously!

Mikee - Your additional information is deeply appreciated. A few key words and phrases from that input led me to find the original German text, which is chock-full of interesting names, dates and collateral material. It also proves that sharing knowledge adds a whole new dimension to our wonderful hobby. With a little help from our friends there are constantly new leads and ideas to peruse, investigate and follow.

Gents - thanks for your kind words and comments on the 'Feuerwehr und Luftschutzausstellung' plate. It's always a pleasure finding something out of the ordinary and sharing it with experienced old friends here on the forum.

Bill

Bill,

Your more than welcome!

Advertising poster, signed by the artist Helmut Müller-Molo in the upper right hand corner.

.

Mikee,

Nice!

B~

Happy New Year to all fellow appreciators of the porcelain art!

Tristan,

Kind thanks good sir!

I certainly hope everyone had a great Julfest and New Year's celebration. Did St. Nicholas bring any nice new white-gold for someone's collection?

I got one wonderful Christmas gift for my collection, but it wasn't porcelain this year.

Wishing all our friends and visitors a fantastic collecting year in 2012!

W~

Here's one that came in over Christmas. It is the Allach Grunfink by Rohring...lovely detail in the feathers and talons. Actually quite a small piece, compared with, say, the Amsel.

Hey Tristan,

Nice Christmas present and congratulations on your new addition. I normally prefer painted porcellan, but I really like that one in white. Thanks.

Thanks, Mikee.
Coloured Allach is rarer, and more expensive!

That's a great model, I think it's one I'd like to add to my collection at some time, thanks for showing.

Gary

Thanks, Gary. If I want to sell it I'll bear you in mind!

Great little bird, Tristan! Love all the delicate details.

It's been a while since I've shared something new on this thread, but I'm excited to show off my latest equine find. It's a piece I've been tracking down for a while and I lucked into it for a great price recently. It's a large (12" x 12") horse by the German firm Cortendorf, which manufactured earthenware/ceramic decorative pieces around the mid-century. It was later acquired by the Goebel company, which many of the Cortendorf molds being recycled and produced under the Goebel name. This horse, an original Cortendorf piece, dates to about the mid 1950's. I also have the same horse in two different colors as produced by Goebel, but this one is far and away the nicest of the lot.

Unfortunately, as with many of the Cortendorf/Goebel horses pre-dating such talents as Bochmann and Grindley, information about the sculptor of this piece and others like it remains elusive. There is no signature, but as you can see the artist that created this piece had a fine eye for details, proportion, and a classic sculptural elegance.

Enjoy!

T.

Tristan,

It might not be a large model, but you know what they say about dynamite coming in 'small packages ...' ... right?

Glad to see that you've found another outstanding unit for your super collection, very nice.

You know, after looking at works produced by Allach for some years now, I never grow tired of seeing this upstart company's quest for excellence. They were just so consistent on so many different levels - items large and small: light-fixtures, iconic busts, historic personages, plaques, plates and lest we forget, some of the most spectacular birds and animals ever produced in late 19th and twentieth-century, European porcelain.

Tiberius,

Another beauty, I like the way the legs are painted and the subtle but strong tones that define the body musculature. Are any of Hussmann's horses on your want list, I'd just be curious to know? I've never seen any 'up-close-and-personal' but they seem dynamic and full of action, usually with a wild mane flying about in all directions.

I've been looking into Gerhard Marcks' animals lately, I wanted to see if all the fuss was warranted about him? I saw a few of his works and thought they were a bit too primitive for my taste. There's a porcelain lioness by Marcks that barely hints at any detail whatsoever, and is normally expensive. But then I found that he produced a long series of bronze wildlife, to include some very interesting, almost minimalist stuff. The Nazis hated his avant-garde style and eventually drove him out of business, along with countless other talented artists. Anyway, here are a couple of pieces by Herr Marcks that I hope you'll enjoy, some more horses and a nice fat swine, heh ...

Best!

B~

2/2

Tiberius, I love the haughty look of your horse - the artist captures that very well!
Bill, I came into Allach via general TR collecting, but you and others are helping me to see things in a broader artistic context, and this is the beauty of this particular forum!

Bill, Tristan, thank you both for your kind words about my latest horse.

Bill, I have actually tried to go after Hussmann horses in the past but they've usually gone out of my price range. I tend to prefer his more refined pieces, though, with less wildly flying mane and tail action. He is assuredly on the list of coveted artists for my horse collection, though!

Those Marcks pieces are interesting. Not quite my cup of tea, but very distinctive style that would go well with more minimalist decor.

T.

Gents,

Whilst surfing the internet I try to save photos of things that might be of interest to us, and/or, pieces that I really admire and wouldn't mind having for my collection, heh ..

I recently found this big bugger of a grizzly/brown bear and thought it would make some good food for thought ... hope some of you might comment on this big old fella.

It's an early 20th century piece by Meissen, though, I'm not certain who the artist was, guessing possibly Friedrich Roth? At over twenty inches long this colossus must literally weigh a ton!

Best!

B~

Bill, I think he's looking for his little friend at 258237!
Just picked up this 1941 Julteller - nothing startling but keeps the collection going.
If anyone out there spots a 1942 Plate please give me a bell!

Friends, Colleagues and Collectors,

The story behind these imaginative porcelain creations (known in German as Zwerge - gnomes, elves, goblins, imps, etc) is quite interesting and takes us back to the 1600's. The French illustrator and copper-engraver, Jaques Callot, is said to be the inspiration behind these fantastic figures, based on the characters he created for the Italian, 'Commedia dell' arte,' a comedy of improvisation.

The initial examples were produced in porcelain and exhibited in Vienna, Austria, in the mid-1800's, by the Italian firm of Ginori as a colorful series of beggars, musicians, courtly figures, hunchbacks, dwarves and gnomes. They were an instant success with the public and immediately the ideas were either stolen outright, copied, and/or expanded on, by any number of Italian, Austrian and German porcelain factories. It seems there was much less control over copyright law back then, so these may be found with any number of maker's marks, including that of the firm of Volkstedt, Aelteste Volkstedter Porzellanfabrik AG, 1915-1936, logo.

I can tell you honestly it's very difficult even for "the experts" to determine that which was originally produced and that which was copied by who and when? With this 'at-best hazy background,' my advice would be to judge every example as a copy. If you can accept that, then review and evaluate each piece simply on it's artistic merit and condition. Just as with any good stoneware like fine beersteins, porcelain, glassware or any other good collectible for that matter, always avoid damaged items if possible. Pay more if necessary, as serious collectors will beat you up over condition when you're selling.

In this case I'm satisfied without knowing the originality of this pair of three and three-quarter inch, rogues. I give you my word you could pop them into a 'lineup' of Allach-quality figurines and they'd fit right in ... something like midget Moriskentänzer.

Hope you enjoy, good collecting to all.

Best!

Bill

2/2

Allach collectors BEWARE...there might be a fake Allach Berghirsch back on Ebay. It is a genuin Karner piece, very nice, but NOT Allach. It has no. 159 instead of no. 10, and a pinted 'SS Allach' under the glaze (This is good but not exact).
There also seems to have been another emblem in the centre of the base but this has been removed and re-glazed.
The Eay name is Rotchronograf (222) and his name is Rudi Reisinger.

Tristan,

I've not seen a fake Berghirsch before and wonder what it could have started as, I'm guessing possibly an early Eschenbach? I don't have a good list of the exact molds that were authorized and licensed by the occupation forces, and given to the company to produce after the war?

A clean, undamaged original Allach/Eschenbach, Kärner figurine would command a fairly good price as is - the quality of these early Eschenbach casts are normally quite excellent and at least to me they're valuable exactly for what they are, and in certain cases, the next best thing to owning a 1935-1945, Allach example.

I couldn't find the auction but, if that's how it plays, then it's either case of blatant stupidity, and/or outright theft. Hope they get the bugger by the short'n curlies!
Thanks for the heads-up.

Bill

Tristan

Thanks for the heads up, I'll keep an eye out for it, there are some very unscrupulous people out there.

Cheers

Gary

It's on German Ebay now.

http://www.ebay.de/itm/Hochseltener-Orig...=item3a7230fb31

Gary

Thanks, Baz...this time he is quoting the 159 number which he didn't do before, but still calling it original Allach.

After the recent disappointment it is nice to report there are some gentlemen left in the hobby (actually, that is the norm rather than the exception), and this piece came in the other day from Poland.
It is the quite rare 1941 Julteller plate with a central pine twig, and I can add it to the '42 and'43 plates. The '40 and '44 are like hen's teeth so I'm not holding my breath!

T,

Congratulations, very nice!

B~

Thanks, Bill

Yes, a very nice Julteller for sure. I almost beat you to the punch on this plate Tristan but you got there before me. The 41 teller is my favorite design of the series BTW.

Sorry, Erich...guess I owe you one!

It went to a good home and to someone who will appreciate it. Congrats!

These are a pleasure to see surviving today. To ship or carry these homeward is stressful. Allach is as fragile as coral. I spent much time on the islands the seas prduced such architectural wonder and every time I carefully packed the contents carefully,, there always seemed to be one broken piece. To own unbroken Allach is a gift! Cheers Edward

Well said, Edward!