When the Moors came to Spain in the 8th century, they brought their art of pottery making with them. By the 13th or 14th century the art had reached its zenith. After the first third of the 14th century the tin oxide glaze that we are familiar with was in common use. Prior to that the pieces were covered with a white clay slip. The Spanish were exporting large amounts of this pottery from the island of Majorca to the rich cities of Italy, where it was known as “Miolica.” A number of these rich city states decided to take over the trade in this pottery and make themselves richer by doing so.
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The first northern faience factories were in the Netherlands. However, from the beginning of the 16th century Spain controlled the Netherlands, and during the 30 Years War, the potters, who were mostly Protestants, were driven out. Consequently, they were received with open arms by the rulers in northwestern Germany who were of the same faith. The first faience factory in Germany was opened in Hanau in 1661 and was soon followed by a factory in Heusenstamm in 1662. For whatever reason, the Heusenstamm factory was closed in 1666 and moved to Frankfurt am. Main, a distance of about 10 kilometers, where it remained in operation until 1772.
Faience (see figure 1) became popular in Europe as an affordable substitute for porcelain, which had been imported from China since the 12th century but could be acquired only by the very rich. Finally, in 1709 (see figure 2) porcelain was produced in Europe for the first time, and although it took years to collapse, faience was already a dead industry. The factories closed one by one until Schrezheim, the last one to produce beer steins, ceased operations in 1852.
Faience is simply a glazed earthenware pottery. Unlike stoneware, which is vitrified and requires no glaze, faience is porous and requires a glaze to keep liquids from seeping through. Clay, sand and lime are mixed in the proper proportions and water is added to produce a slurry which is then sieved to remove impurities.
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The objects were then given a first firing to drive out all the remaining water. This was done at 600-800 degrees centigrade to make them ready for glazing.
The glaze, a mixture of tin oxide, ground glass, and a flux, was mixed to the correct proportions and mixed with water. The objects were then dipped into the glaze, or in the case of large pieces the glaze was poured over them. At this point the high temperature colors such as cobalt blue, manganese violet, yellow, green, iron red and black could be painted directly onto the unfired glaze.
The pieces now received their second firing at 900-1050 degrees centigrade. At this temperature the glaze smoothed to a porcelain-like appearance and the paints fused with the glaze. An unlimited number of low temperature colors could now be added, and the pieces were then fired for a third time at 650-850 degrees centigrade. This third firing was called a “muffle” firing, as the pieces were muffled, or protected, from the heat by a wall of fire bricks.
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The following is a major listing of German faience factories that includes the date of operation, and if known, founders, operators, factory artists, their marks, and additional unattributed (“other”) marks. This listing doesn’t pretend to be exhaustive, especially in the areas of artists and marks, and for that reason is arranged for ease of expansion.
Several names keep appearing over and over on this list as both artists and owners. Three names that stand out are those of Johann Kaspar Rib, Joseph Philipp Dannhoeffer and Adam Fried rich von Loewenfinck. Johann Kaspar Rib was associated with the following factories: Ansbach 1710-1712, Nuremberg 1712-1713, Bayreuth 1714-1717, Braunschweig 1717-1721 and Zerbst in 1723. Joseph Philipp Dannhoefer worked at Bayreuth 1737-1744, Abtsbessingen 1744-1747, Hoecht 1747-1751 and Fulda 1751-1758. Adam Friedrich van Loewenfinck was recorded as an artist at only two factories, Fulda 1741-1744 and Hoecht 1746-1749, but his widow managed the Ludwigsburg factory 1777-1795.
I have also included a number of “Hausmalers,” or studio painters, where appropriate and have identified them with (HM) after their names. These studio painters painted at home on commission. They purchased the blank plate, or stein, or whatever and decorated it to specifications. Usually, the painting of faience objects was a second or third occupation for these people, it was seldom their sole means of income. Bartolomaeus Seuter was a silk dyer and a copper engraver. Abraham Helmhack was a glass painter and a copper engraver. Johann Ludwig Faber and Johann Schaper were glass painters, and Wolfgang Roessler was a goldsmith and copper engraver.
In listing the marks a number have a slash in them (/). This represents an horizontal line, so that part of the mark that precedes the slash is above it, and the part that follows is below it. While incomplete, I believe this list is more comprehensive than anything of its nature appearing in earlier issues of Prosit.
Abtsbessingen 1739-1800 — Founded by Prince August I. von Schwarzburg-Sonderhausen. Artists: 1744-1747 Joseph Philipp Dannhoeffer, 1753-1791 Johann Gottfried Kiel “k” in purple.
Ansbach 1710-1804 — Founded by Margrave Friedrich Willhelm von Ansbach. Artists: 1715-1785 Johann Georg Christoph Popp, also owner from 1769-1788 “Popp 1715”, 1710-1712 Johann Kaspar Rib, 1716-1729 & 1741-1751 Johann Valentin Bontemps, “J.V. Bontemps A 1716”, 1724-1739 Johann Wolfgang Meyerhoeffer “WM” in red, 1746-1792 Johann Julius Popp “J.J.P.” 1760-1765 Johann Melchior Schoellhammer (HM) Other marks: “A”, “ANSP:”, “f.”, “AB/1774” in blue.
Augsburg 1746-1749 — Artists: 1715-1720 Bartolomaeus Seuter (HM), 1720 Abraham Seuter, brother of Bartolomaeus (HM), 1730 Johann Auffenwerth (HM) 1750, Anna Elisabeth Wald, daughter of Joh. Auffenwerth (HM)
Bayreuth 1714-1835 — A large number of Bayreuth pieces are well marked and usually included the factory and owner’s initials and sometimes the artist’s initial as well. The “B” in the mark obviously stands for Bayreuth. The second initial stands for the owner: “B.K.” = Johann Georg Knoeller 1714-1744, “B.F.S.” = Adolf Fraenkel and Johann Veit Schreck 1745-1747, “B.P.F.” = Johann Georg Pfiffer and Fraenkel’s widow 1747-1760, “B.P.” = Georg Pfiffer 1761-1767 and Pfiffer’s heirs 1767-1788. Artists: 1714-1717 Johann Kaspar Rib, 1731-1748 Johann Clarner ”B.K./C.” = “Bayreuth. Knoeller./Clarner.” 1737-1744 Joseph Philipp Dannhoeffer, 1740 Johann Christoph Jucht, 1767-1788 Johann Martin Anton Oswald “O” in black, 1731 Georg Friedrich Grebner (HM), 1769 Johann Georg Fliegel (HM). Other marks: “W”, “WT”, “IVF”, “OS”.
Berlin 1678-1786 — Founded and operated by the Grand Elector Friedrich Wilhelm 1678-1688, owned by Gerhard Molin and the Duke’s widow 1688-1697, Gerhard Wolbeer 1697-1721, Wolbeer’s son 1721-1754. A second factory was operated by Cornelius Funke 1699-1733 and by his widow and heirs 1733-1747. Some marks: cursive “F”, “RL/”, cursive “T”.
Braunschweig 1707-1807 — Founded by Duke Anton Ulrich and operated by him 1707-1710, leased by H. Chr. van Horn and W.J.G. von Hantelman 1710-1712, their mark was “VH”, H.F. van Horn 1712-1731 and by his widow until 1745. Artists: 1717-1721 Johann Kaspar Rib “R” in blue. Other marks: “VH/F”, “VH”.
Crailsheim 1720-1827 (?) — Founded by Georg Veit Weiss 1720-1769, operated by his son Johann Georg Weiss 1769-1800 and then by his grandson J.G. Weiss 1800-1827 (?) Some marks: “CRAILS/HEIM/W”, “CREILSH.”, “CRAILSHEIM/K”, “S”.
Dorotheenthal 1707-1806 — Founded by the Princess Auguste Dorothee von Schwarzburg. Artists: 1733-1758 Johann Martin Meiselbach “MB”. Other marks: “D”, “cursive “F” in blue, “AL./” in green, “A” in blue, “TO”/ in green.
Dresden 1708-1784 — Founded with the help of Johann Friedrich Boettger, 1712-1767 the factory was leased by Peter Eggebrecht and his heirs.
Durlach 1723-1812 —The factory was operated from 1723-1726 by Johann Heinrich Wachenfeld, 1726-1734 by Wachenfeld’s widow, 1749-1812 by Georg Adam Herzog and Johann Adam Benckieser. Artists: 1751-1803 Georg Balthasar Fichtmeier “F” in black, 1773-1835 Johann Jacob Kaiser “K” in black.
Erfurt 1716-1792 — The first, short-lived attempt at a factory was in 1716. The equipment was then leased from 1724-1792 by Johann Paul Stieglitz and his heirs. Artists: 1730-1751 Johann Jacob Wunderlich “W”, 1737-1753 Georg Matthaeus Schmidt “S” in blue, 1751-1761 Johann Martin Franz “F” in purple or red. Other marks: “G” in blue, “LB”, “HR” in blue, “13” in yellow, “H”, “GW/”, “E”, “S./”, “V”, “A” in purple.
Florsheim 1765-18?? — From 1766-1774 the factory was managed by Kaspar Dreste. Between 1774 and 1806 the factory passed back and forth between owner and lessor. After 1787 it became a steingut factory. Some marks: “FFF” in black, “C” in purple.
Frankfurt a. Main 1666-1772 — The factory was founded in 1666 by Johann Simonet. From 1666-1693 it was owned by the merchant Johann Christoph Fehr and from 1693-1721 by Fehr’s widow and his sons. 1721-1722 Anna Salome von Lersner. 1722-1733 District Magistrate Hasslocher and his wife. 1733-1736 Hasslocher’s heirs and Anna Salome von Lersner. 1736-1740 J.W. Deininger and J.F. Sauersenff. 1740-1772 Johann Georg Heckel and sons. Artists: 1680-1690 Johann Wereshofer (HM) “W”, 1742 Johann Carl Auer “Johann Carl Auer a Franckfurth 1742” in black. Other marks: “F” in purple, “B” in blue, “14” in purple, “P” in blue, “FURTH/1718”.
Friedberg 1754-1768 — Founded on a whim by Joseph Hackhls after the Goeggingen factory moved. Artists: 1754-1768 Joseph Hackhis “JH.” Other marks: “CB”.
Fulda 1741-1758 — Founded by Adam Friedrich von Loewenfinck and his brother Carl Heinrich, but owned by Prince Bishop Amandus von Buseck. Artists: 1741-1744 Adam Friedrich von Loewenfinck, 1742-1743 Georg Balthasar Birkenkopf “FD/BK”, 1744 Johann Birkensee and later J.B. Schmidt “FD/JB”, 1751-1758 J. Philipp Dannhoeffer. Other marks: “FULD.”, “FD/BS” probably Schmidt, “FD/M”.
Goeggingen 1748-1752 — Founded by Georg Michael Hofmann and Joseph Hackhl. Some marks: “Goggingen”, “HS”.
Hanau 1661-1806 — 1661-1679 operated by Daniel Behaghel and Jacobus van der Walle. 1679-1688 Behaghel, Walle and Johann Bally. 1688-1693 the foregoing and Anna Bally. 1694-1726 the heirs of Walle and Behaghel. 1727-1740 Heinrich Simons von Alphen. 1740-1775 Hieronymus von Alphen. Some marks: “JS” Jacob Schilles or Jacob Schuetz, “M”, “9”, “4”, “HANAU” in gray, “HV”, “HA”, “HB”, “HANNAU/VA”.
Hannoversch-Münden 1732-1854 — Founded and operated 1732-1775 by Carl Friedrich van Hanstein and after him his son 1775-1797. Some marks: “S” in purple, “ccc/”, “cccM “, “ccc/E”.
Hoecht 1746-1760 — 1746-1749 established and operated in the shop of Johann Christoph Goeltz, Johann Felician Clarus and Adam Friedrich van Loewenfinck. 1749-1756 Johann Christoph and his sons. Artists: 1746-1751 Georg Friedrich Hess “H”/wheel in purple, 1748 Johann Gottlieb Rothe “R, 1747-1751 Johann Nicolaus Daurenheim “:ID:” in gray, 1747-1751 J. Philipp Dannhoeffer wheel and “D”, 1746-1751 Ignaz Hess “HH”/wheel in purple, wheel and “H” in purple, 1748-1749 Lothar Chariot wheel and “C,” 1748-1753 Johann Zeschinger “IZ,” 1748-1749 Christoph Walter “W” in gray, 1749-1758 Adam Ludwig “AL”/wheel, “AL/4” in purple, “AL:NI”/wheel, 1750-1756 Johann Philipp Zisler “Zisler” in gray. Other marks: “VZ”, “XZ”, “JZ”/wheel, crowned wheel, wheel/“F”.
Kassel 1680-1781 — Founded by Count Karl van Hessen-Kassel. Leased from 1694-1699 by Esaias de Lattre. There were various owners, mostly Dutchmen until 1724. 1724-1740 Johann Christoph Gilze and his son. 1740-1776 Chamberlain Waitz. Some marks: “HL”, “W”.
Kiel 1758-1787 — Owned by the government of the Grand Duke until 1766 and was managed by Johann Samuel Tannich from 1763-1769. Some marks: “KB/L”, “KIEL/”, “T/L”.
Kunersberg 1745-1767 — Owned by Jacob von Kuener. Artists: 1745-1748 Johann Georg Conradi, 1745-1749 Johann Kaspar Biegel “B” in purple, 1745-1758 Johann Espenmueller (HM), 1747-1756 Johann Martin Frantz. Some marks: “KB/”, “A” in red, “G” in blue.
Ludwigsburg 1732-1824 — Founded by the Duke Karl Eugen von Wurttemberg. In 1763 it merged with the factory of Johann Jacob Mergenthaler and Anton Joachim. From 1777-1795 it was managed by the widow of Adam Friedrick von Loewenfincks. Some marks: “C”, “O/J.”
Magdeburg 1754-1785 — Owned by Johann Philipp Guichard and a town hall syndicate. Some marks: “M” in blue-green, green or purple.
Mosbach 1770-1828 — 1772-1774 under the directorship of Prince Carl Theodor. 1774-1779 owned by Johann Samuel Tannich. He continued as Director until 1782. 1782-1787 Johann Gotfried List & Co. 1787-1828 Johann Martin Roemer & Co. Some marks: “crown/MB”, “CP”, “TC”, “CF”.
Nuremberg 1712-1840 —Founded by Christoph Marx, Gottfried Hemmon and Conrad Romedi as well as Kaspar Rib. Artists: 1660-1670 Johann Schaper (HM) “Joh. Schaper,” 1680 Wolfgang Roessler (HM) “WR”, 1690 Abraham Helmhack (HM) “AH”, 1690 Johann Heel (HM), 1700 Johann Ludwig Faber (HM), 1712-1713 Kaspar Rib, 1715-1718 Johann Georg Bayer, 1717-1731 Georg Friedrich Grebner “G.F. Grebner 1728 d. 10.Jun.” 1717-1735 Georg Michael Tauber, 1715 Johann Georg Kunstmann “K” in blue, 1720-1730 M. Schmid (HM) “MS,” 1720-1730 Justus Alexander Ernst Glueer (HM), 1722 Paul Stroebel, 1731 P.C. Schwab, 1734 Johann Andreas Marx, 17??-1762 Georg Friedrich Kordenbusch, 1776 Leonard Friedrich Marx “LMF,” 1782 Hans Sebald Frantz “F” in rust red. Other marks: “I”, “NB/K”.
Offenbach 1739-1807 — Operated by Philipp Friedrich Lay 1739-1762 and then by his son until 1765. 1765-1775 Chr. Puchel was the charter holder. 1775-1779 Johann Klepper. Some marks: “3” in green.
Oettingen-Schrattenhofen 1735-1830 — Founded in Oettingen in 1737 and later transferred to Schrattenhofen. Owned by Prince Albrecht Ernst von Oettingen and managed by J.G. Conradi. 1757-1830 the factory in Schrattenhofen owned by Albrecht Koehler and his descendants. Some marks: “OTTINGEN/R”.
Poppelsdorf 1755-19?? — Some marks: An anchor.
Potsdam 1739-1796 — Some marks: “POTS.DAM”, “P”, “P/R”.
Proskau 1769-1793 — Founded by Count Leopold von Proskau. 1769-1783 operated by Prince Carl Maximilian von Dietrichstein. From 1783-1793 it was leased by Johann Gottlieb Leopold. Some marks; “D.P.”, “P:”, “H.V./X.”
Reval 1780-1792 — Owned by the Apothecary Carl Christian Fick of Stralsund Some marks: “R/F”.
Rheinsberg 1762-1866 — Some marks “RL” in purple = RHEINSBER LUEDICKE.
Rudolstadt 1720-1809 — Some marks “R/C”, “R/F”.
Schleswig 1755-1814 — Some marks: “S/CB”, “S/H”, “S/R”, “S/R/B”.
Schrezheim 1752-1852 — Owned and operated by Johann Baptist Bux 1752-1800. From 1800-1816 by Alois Bux, Anton Wintergerst and Anton Pfister. 1816-1833 owned by the widow of A. Wintergerst and later by their son. Some marks: “JB”, “K”, “B”, “f.”, “C” in purple, “W” in purple, “L” in black, “2B”, “5M”.
Stralsund 1755-1790 — Owned by Joachim Ulrich Giese 1755-1766. 1766-1770 leased to J. Eberhard Ludwig Ehrenreich. 1772-1780 owned and operated once again by J.U. Giese. Some marks: “B” in purple.
Sulzbach 1752-1774 — From 1757 it was owned by Prince Carl Theodor von der Pfalz Some marks: “SULLZBACH”, “CT”.
Wiesbaden 1770-1795 — Some marks: “WD”, “JW”.
Wrisbergholzen 1735-1834 — Some marks: “WR”, “WPIS”.
Zerbst 1721-1796 — 1721 owned by Prince Johann August von Anhalt-Zerbst. Refounded in 1723 by Kaspar Rib and then once again about 1740 by Daniel von Kayck. After 1761 it was operated by Master Peter Fertch. Artists: c.1770 Johann Christoph Andreas Langendorf “Z/L”. Other marks: “Z/M”.
Bibliography:
Bauer, Margrit, Europaische Fayencen, Museum für Kunsthandwerk Frankfurt am Main. 1977.
Bosch, Helmut, Deutsche Fayencekruge des 17. und 18. Jahrhunderts, Verlag Philipp von Zabern, Mainz, 1983.
Fischer, Jurgen and Kurt Bosch Sammiung, Auction Catalog, Nov. 5, 1988, 232 pps., Heilbronn.
Kirsner, Gary and Jim Gruhl, The Beer Stein Book, Glentiques Ltd., Coral Springs, FL, 1990.
Vogt, Johannes und Peter, Fayence und Steinzeug aus Vier Jahrhunderten, A Sales Offering, Munich, undated.
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*Reprinted by permission from Prosit, the Journal of Stein Collectors International, Vol 2, No. 18, June 1996
