Faience Manufactory Münden
The earthenware manufacture Münden was an existing 1732-1854 manufacture of earthenware in Münden whose porcelain brand three C s in reference to the root crest of the family of Hanstein with the three crescents represents. The permanent exhibition in the Münden City Museum in the Welfenschloss Münden is the most extensive collection of pieces from this factory . Individual pieces, particularly rare vases in a kind of net decoration, are also in the Kestner Museum in Hanover today .
history
The Mündener Landdrost Carl Friedrich von Hanstein had on June 20, 1755 by Elector Georg II retrospectively received a concession for a "Porzellain Fabrique" with the exclusive production privilege for Münden and the surrounding area. The actual establishment, however, goes back to the year 1732, when Carl Friedrich von Hanstein set up a " pottery and pipe factory " on the Steinberg and the Hühnerfeld near Münden . This included a lignite mining , an ironworks, an alum boiling plant , a brickworks and a manufacturing facility for melting pots . The pottery developed into a "faience", which retroactively granted Elector George II the concession for a porcellain fabrique for fake porcelain in Münden in 1755 , as well as a manufacturing privilege and permission to sell the goods at home and abroad. However, the factory had existed earlier, as a roller jug from the factory bears the year 1753 and an entry in the church register of the Mündener St. Aegidienkirche attests to the marriage of a Laquier and porcelain manufacturer for the year 1747.
During the Seven Years' War , Münden was repeatedly occupied by French troops from 1757, which led to the destruction of part of the manufacturing facility, for example the melting pot production. As a result, the faience factory was relocated to a site near the city on the Werra in 1757 , which was about 100 meters from the Münden city wall .
In 1786 the owner of the manufactory, Johann Carl Friedrich von Hanstein, the founder's son, demanded an increase in customs duties for foreign ceramics, especially for English stoneware , but this was rejected because “such benefits do not promote the company, only, as is well known, not would increase the inconsiderable income of the factory owner. "
Later the production of "English stoneware" was added. After the death of JCF von Hanstein in 1797, his son Ernst Carl Friedrich Georg von Hanstein took over the management. In 1806, after having been in the family for three generations, he sold the manufacture to retired Captain Falckmann. The company experienced an enormous upswing due to the continental barrier imposed by Napoleon . Under the Bremen merchant Johann Baptist Hack as the new owner, around 150 people were employed in 1811 and goods sold for 25,000 thalers. His relatives passed the business on to the merchant Wüstenfeld. After the end of the continental dam in 1811, the business went steadily downhill. When Hanover joined the German Customs Union in 1854, the manufacture of goods in the factory also ended. Possibly the lifting of tariffs for cheaper goods from abroad and the resulting increased competitive pressure were responsible for the closure of the business.
In addition to the Faience Manufactory Münden, there were three other production facilities in southern Lower Saxony that existed in the 18th and 19th centuries for a period of around 150 years. These included two Braunschweig manufactories and the faience factory Wrisbergholzen .
Personnel, proceeds, raw materials, production conditions and sales
In 1788, 128 people lived from faience production in Münden. The value of the goods produced annually was 7,000 to 8,000 thalers. At that time the company had around 120 employees, of which 36 were men (8 painters, 4 lathe operators and formers), 25 women (5 painters, 2 lathe operators and formers) and 59 young people (11 painters, 8 lathe operators and formers). The manufactory had branches in Bremen, Duderstadt, Fritzlar, Goslar, Hanover, Kassel and numerous other places. Clay and sand from the Tertiary geological period were used as raw materials for the ceramics . For production, the material could be obtained directly from the basalt crest of the small stone mountain . Von Hanstein had already started mining lignite here as early as 1732 . In 1788 raw materials from domestic sources were consumed:
Local ingredients
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Imported ingredients
Consumption for packaging and shipping:
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A certain clay was dug around 10 km southwest in the area of Ellerode on the Werra, and transported by ship. This clay was not used for the rolled goods , but for so-called Kohker , also called muffles . The faience to be burned was placed in these open ceramic vessels to protect them from the direct effects of fire. Since these muffles cracked and broke after a short period of use, string was used to tie together fragments that were still usable. Apparently the thread resisted the heat of the kiln. After packing in boxes filled with hay, the finished goods were loaded onto rafts and shipped.
The main sales areas for Mündener faience were around 1788 in the Electorate of Hanover and the Duchy of Braunschweig . Goods were transported from Münden mainly by water via the Weser , Werra and Fulda . Later, the manufactory on the Weser no longer used the Mündener boatmen, but the timber merchants and raftsmen from Gimte . Branches and sales houses of the Mündener Fayencemanufaktur were often located on rivers, depending on the transport routes. In detail they existed in the following places:
Products and labeling
| Hanstein's coat of arms | 3 × C + initial | Brand M | ||
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The manufacturer's mark used by the manufactory was mostly the one with the three letters "C" or so-called sickles , which corresponded to the three crescent moons of the Hanstein family coat of arms or an "M" as a mark. In addition, the objects were provided with a monogram of the respective artist. For example, the painter Georg Christoph Schäfer worked there around 1789, whose workpieces were marked with an "S". A "B", on the other hand, refers to the painter Ernst Ludwig Barthold , who worked for the manufactory from 1787 to 1797. Other artists were the glass painter Johann Nicolaus Fleischhauer, who worked there around 1764, and Peter David Pielke, who worked here from 1768 to 1791 and who was assigned the painter initial "P".
The so-called net vases were among the special and high-quality products of the manufactory. They were luxury components of bourgeois living culture of the 18th and 19th centuries and served as a potpourri to improve the room fragrance. Some are exhibited in the collection of the Municipal Museum in the Welfenschloss Münden . The Mündener Netzvasen are characterized by a net-like structure with little flowers at the crossing points. These were made from two parts joined together. The net-like cover had to be opened by a vertical cut in order to accommodate the actual vase body. The envelope was then closed again. The faience produced in Münden was painted exclusively with underglaze paints in the early days and provided the decoration. The color tones varied from manganese violet to a matt green and subordinate blue and yellow tones. From 1770 so-called muffle colors were also used , which made a richer color possible.
In addition to the decorative artistic products, the manufactory mainly produced serially manufactured household ceramics, such as butter and pie jars, some in animal shape, cups, plates, bowls and large soup tins . The potpourris had a similar bulbous shape as these terrines, which were available in a splendid and simple design. There were also basins for barbers , bidets and flower pots, writing sets and wall vases in blue and colored painting with rows of holes to stick the flowers. However, the so-called roller jugs or tankards with simple decor, such as stylized landscapes with flowers and animals, sold best . Also genre-like scenes with people rurality were as popular as the in cartridges painted Sachsenross . Typical of the Münden decor of the exported roller jugs is a stylized palm tree depicted on rocks, indicated gates or fences and sayings in German or Danish distributed in the landscape. I would also like to point out the tea tables. These were wooden frames on which a faience plate rested, and which were only known from manufacturers in the Baltic Sea region, but were also made in Münden, the southernmost production site.
Coffee pot around 1780, Münden City Museum
Bottle cooler around 1750
Pharmacy jars around 1750
Tobacco pots around 1770
Tiles with blue motifs
See also
literature
- Johann Beckmann: Instructions for the technology, or for the knowledge of the crafts, factories and manufactories. In addition to contributions to art history. 6th edition. Vandenhoeck & Ruprecht, Göttingen 1809, OCLC 311291635, Faience-Manufaktur Münden
- Henrik Lungagnini: tankard depicting a ship. Hannoversch-Münden, around 1800. In: Yearbook / Altonaer Museum in Hamburg. 12/13. 1974/75, ISSN 0440-1417 , pp. 118-119. ( sub.uni-hamburg.de )
- Hela Schandelmaier, Helga Hilschenz-Mlynek: Lower Saxony faiences. The Lower Saxon manufactories Braunschweig I and II, Hannoversch Münden, Wrisbergholzen. Kestner Museum, Hanover 1993, ISBN 3-924029-20-2 .
- Johann Dietrich von Pezold: The Mündener Fayencemanufaktur in: History on the three rivers. A glimpse into the past of the city of Hann. Münden on Werra, Fulda and Weser , Hann. Münden, 2001, pp. 68-70
- Joachim von Stockhausen: The Mündener Linnen Legge and Faience Manufactory in: Hann. Münden and shipping on Werra, Fulda and Weser , 2003, ISBN 978-3-89533-441-2 , pp. 109–113 ( table of contents )
- Patricia Brattig, Petra Hesse: Hannoversch Münden (1732 / 1753-1854). In: The beautiful appearance. German faience art. Kehrer Heidelberg, Heidelberg 2013, ISBN 978-3-86828-414-0 .
Web links
- Photos of 5 faiences from the 18th century by the Münden Manufactory in the picture index of art and architecture
- Photo of a faience bird cage by the Münden manufactory: bird cage around 1760 or as a flyer (PDF) on schloss-hoechstaedt.de
Individual evidence
- ↑ Permanent exhibition of faience at hann.muenden.de
- ↑ J. Focke: On the history of the Mündener faience factory. In: Kunstgewerbeblatt. 5. Issue 12, 1889, p. 177. ( digi.ub.uni-heidelberg.de )
- ↑ a b Otto Riesebieter: The German faience of the 17th and 18th centuries. Klinkhardt & Biermann, Leipzig 1921, p. 199 ff. ( Archive.org )
- ↑ Hela Schandelmaier, Helga Hilschenz-Mlynek: Lower Saxony faience. Hanover 1993, p. 43 ff.
- ↑ J. Focke: On the history of the Mündener faience factory. In: Kunstgewerbeblatt. 5. Issue 12, 1889, p. 178.
- ↑ a b c d Justus Brinckmann: Faience from Münden in Hanover. In: Guide through the Hamburg Museum for Art and Industry. At the same time a handbook of the history of the arts and crafts. Verlag des Museum, Hamburg 1894, pp. 352–354. ( forgottenbooks.com ( Memento of December 8, 2015 in the Internet Archive ))
- ↑ Hela Schandelmaier, Helga Hilschenz-Mlynek: Lower Saxony faience . Hanover 1993, p. 45 ff.
- ^ A b Marc Kühlborn: Faience from Hannoversch Münden. In: Aufrisse (= annual issue of the working group Lüneburger Altstadt eV 11th) 1995, pp. 52–56. ( stadtarchaeologie-lueneburg.de )
- ↑ Picked up, praised, admired Johann Nicolaus Fleischhauer. (PDF) on der-glasfreund.de
- ↑ Basin with a figure relief and lady in a park. In: lot-tissimo.com. Retrieved December 9, 2015 .
- ↑ Welfenschloss with Städt. Museum in Hann. Münden. hann.muenden-tourismus.de, accessed on December 8, 2015 .
- ↑ Hela Schandelmaier, Helga Hilschenz-Mlynek: Lower Saxony faience. Hanover 1993, p. 48 f.
- ↑ Hela Schandelmaier, Helga Hilschenz-Mlynek: Lower Saxony faience. Hanover 1993, p. 49 f.
Coordinates: 51 ° 25 ′ 0 ″ N , 9 ° 39 ′ 24 ″ E