Cobalt blue. Think about that color as you stand before the Königliche Porzellan-Manufaktur Berlin. It’s more than just a hue. It’s the unmistakable stamp of authenticity. It is the royal scepter. This symbol marks every piece crafted within these walls.
Welcome to the Königliche Porzellan-Manufaktur Berlin, or KPM as it is commonly known. Here, porcelain isn’t just made. It’s born from a legacy of artistry and royal patronage. Founded in 1763 by Frederick the Great, KPM’s story began long before his reign.
Imagine Berlin in the mid-18th century. Three private enterprises tried to unlock the secrets of “white gold”. They sought to create porcelain. These early attempts paved the way for what KPM is today. Despite royal support, these ventures faced financial ruin. Then, Frederick the Great stepped in. He purchased the struggling manufactory. He bestowed upon it his royal name and the iconic scepter logo.
Did you know Frederick jokingly called himself KPM’s “best customer”? From 1765 until his death in 1786, he ordered porcelain worth 200,000 thaler. That’s a king-sized shopping spree. He didn’t just buy for himself. Frederick gifted KPM porcelain to European royalty. These exquisite pieces graced tables in Russia and beyond.
KPM’s Rococo designs perfectly mirrored Frederick’s tastes. Dinner services boasted delicate white porcelain. They featured faint yellow and grey tinges. The artistry was meticulous. Each piece was designed to complement the interiors of Frederick’s palaces. Consider the Reliefzierat service. Created for the New Palace in Potsdam, its gilded rocailles echoed the stucco ceiling.
Interestingly, KPM developed a soft blue shade called Bleu mourant or dying blue in 1784. Frederick favored this color. It adorned his private chambers at Sanssouci Palace and the New Palace. Neoclassical designs emerged. They marked another enduring chapter for KPM.
However, KPM adapted even though Frederick the Great favored Rococo styles. KPM continued to thrive even after Frederick’s death. In 1790, the KURLAND service debuted. It became one of KPM’s greatest successes. Duke Peter von Biron commissioned it.
In the 19th century, KPM expanded its market. It catered to the rising middle class. Highly decorated cabinet cups became popular display items. Cityscapes of Berlin and Potsdam adorned porcelain. They shaped the image of a modern Berlin.
To stay ahead, KPM embraced technological advancements. In 1878, it partnered with a Chemical-Technical Research Institute. Hermann Seger, the institute’s director, revolutionized KPM’s capabilities. He introduced new underglaze colors. He drew inspiration from Chinese ceramics.
The early 20th century saw KPM embracing Art Nouveau. Alexander Kips and Theodor Schmuz-Baudiss led the way. The Wedding Procession centerpiece exemplifies this era. It won a gold medal at the 1910 World Exposition in Brussels.
After the monarchy’s fall, KPM became a state-owned entity. Bauhaus and New Objectivity influenced its designs. Trude Petri’s URBINO service became iconic. In the 1930s, Nazi rule forced some KPM artists to flee. World War II devastated the manufactory.
Following the war, KPM rebuilt. It returned to its historic Berlin location. In the 1990s, KPM rediscovered its traditions. Historic designs were revived. The BERLIN service, created with Enzo Mari, debuted. Today, KPM continues to blend tradition and innovation.
Before you leave, notice the painter’s signature on each piece. This personal touch reflects KPM’s commitment to artistry. From royal beginnings to modern collaborations, KPM remains a symbol of Berlin’s artistic heritage.