KPM Königliche Porzellan-Manufaktur
(1763-present)
Before KPM was established, there were two previous attempts to create a porcelain manufactory in Berlin. In 1751, Wilhelm Caspar Wegely, a wool manufacturer, received a royal privilege from Frederick II of Prussia to start a porcelain business, which included a duty exemption on essential materials and protection from competition. Wegely hired skilled artisans from rival factories, appointing Ernst Heinrich Reichard as chief modeller. However, technical challenges and the onset of the Seven Years’ War led to the venture’s failure, and Wegely dissolved his business in 1757, selling its assets to Johann Ernst Gotzkowsky, a Berlin merchant. By 1761, Gotzkowsky opened Berlin’s second porcelain manufactory. He secured a deal with Reichard, who had the secret porcelain-making formula, known as the arcanum, for which he was compensated with 4,000 thaler, plus an additional 3,000 for materials. Reichard also agreed to manage the factory and brought his eight workers with him.
Close up of the KPM sceptre mark on a porcelain plaque available at Jacksons Antique
With the backing of Frederick II, Gotzkowsky attracted talented artists and craftsmen. He appointed Friedrich Elias Meyer, a former pupil of renowned Meissen factory modeller Johann Joachim Kändler, as chief modeller and Carl Wilhelm Boehme as head of painting. Despite these promising beginnings, Gotzkowsky’s finances deteriorated, and he could not secure support from the royal treasury, which remained strained from the war. As a result, his porcelain venture came to an end, and early pieces from both Wegely and Gotzkowsky are now rare collector’s items. On September 19, 1763, Frederick II purchased the manufactory for 225,000 thaler, assuming control of its 146 employees and renaming it the “Königliche Porzellan-Manufaktur Berlin” (Royal Porcelain Manufactory Berlin), or KPM. He allowed the use of the royal sceptre as its symbol and implemented progressive labor practices, including fair wages, regular hours, pensions, healthcare, and support for widows and orphans.
Frederick II became the factory’s primary patron, humorously referring to himself as its “best customer.” From 1765 until his death in 1786, he placed orders totaling 200,000 thaler, commissioning 21 intricate dinner services for his palaces, each comprising up to 500 pieces. KPM porcelain became a staple among European aristocracy, including at the courts of Russian tsars. The factory was known for its exquisite dinner services, characterised by high-quality painting on fine white porcelain with a subtle yellow-grey tinge. One of KPM’s notable early creations was the Rococo-style Reliefzierat service, designed for the New Palace in Potsdam in 1765. Its gilded rocailles and floral motifs mirrored the palace’s stucco ceilings. This was followed by other iconic dinner services, such as Neuzierat, Neuglatt, Neuosier, and Antique Zierat, many of which are still produced today.
KPM La Gondole D’amour Porcelain Plaque available at Jacksons Antique
In 1784, KPM achieved a delicate shade of blue called Bleu mourant (“dying blue”) after years of experimentation. This color adorned Frederick’s favored Neuzierat service and complemented the interiors of his Sanssouci Palace. Although the factory later transitioned to neoclassical designs, Frederick’s affection for Rococo remained evident until his death in 1786. Frederick William II, Frederick’s successor, showed little personal interest in porcelain but still procured pieces from KPM, compensating the factory by deducting from his profit shares. Despite this, KPM flourished, averaging annual profits of over 40,000 thaler. In 1790, the KURLAND dinner service was introduced, named after Duke Peter von Biron of Kurland, a wealthy patron. The factory collaborated with notable artists such as Karl Friedrich Schinkel and Johann Gottfried Schadow, whose Prinzessinengruppe (Two Princesses) became a celebrated work.
By the early 19th century, KPM tapped into a new market among the burgeoning bourgeoisie, producing decorative “cabinet cups” meant for display rather than everyday use. During this time, KPM emerged as a leader in European porcelain production, especially known for cityscape and veduta painting. Carl Daniel Freydanck, one of the factory’s key artists, captured stunning views of Berlin and Potsdam in his works, which were often given as regal gifts and helped shape Berlin’s image across Europe. In 1867, KPM relocated to a modern facility by the Spree River to accommodate the construction of the Prussian Parliament building. This new factory, completed in 1872, allowed for more efficient transport of materials via barge.
KPM Porcelain Plaque Mother and Child available at Jacksons Antique
Technological advancements in the late 19th century enhanced KPM’s reputation. The Chemical-Technical Research Institute, established in 1878, led innovations in color and glaze under Hermann Seger, who developed new underglaze colors inspired by Chinese ceramics and laid the groundwork for the Art Nouveau movement. His successor, Theodor Schmuz-Baudiss, continued to elevate KPM’s artistic offerings. A significant highlight of this era was the Wedding Procession, designed by sculptor Adolf Amberg in 1908. Initially considered too avant-garde, the piece was later produced in porcelain and won a gold medal at the 1910 World Exposition in Brussels. After the monarchy’s fall in 1918, KPM became the State Porcelain Manufactory Berlin, retaining its royal mark and sceptre. The factory continued to innovate, influenced by Bauhaus and the Deutscher Werkbund, with standout designs like Trude Petri’s URBINO dinner service and Marguerite Friedlaender’s Halle vases exemplifying modernist functionality.
The Nazi regime had a detrimental effect on KPM’s artists, many of whom were dismissed or forced to flee. The factory itself suffered significant damage during World War II but resumed production in temporary quarters in Franconia before returning to Berlin in 1957. In 1988, KPM became a limited company, and throughout the 1990s, it re-emphasized its cultural heritage by reviving historic designs. A vase collection launched in 1994 garnered acclaim, and in 2006, the company was privatized under banker Jörg Woltmann. In the 21st century, KPM continued to evolve, partnering with Bugatti in 2011 to design a Bugatti Veyron Grand Sport. In 2013, KPM celebrated its 250th anniversary with an exhibition featuring 300 works showcasing the company’s rich history. Today, KPM stands as a symbol of craftsmanship, creativity, and innovation.