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Parallel to it, I am in the study of the possibility of the attribution to a particular time period of the porcelain of the IPM of the "N I" mark , which is depending on the appearance of this mark. Also, I work on the preparation of both reports at the Congress in St.

Petersburg in November about the Ludwigsburg manufactory and the fakes of Samson. Do you collaborate with such organizations?

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Please, tell a few words about some of the most successful joint projects. However, we must remember that only an 'elite' small circle of people has this passion. In the recent few years, the prices for the low and middle costing items went down, except for the Meissen porcelain. This is a good period for starting collecting porcelain. It especially concerns such brand names as Hochst, Fiirstenberg, Berlin or Ludwigsburg, which can be purchased today at really low prices.

This concerns also a number of foreign producers, such as, for example, Capodimonte. In ceramics as in all the other fields of art, we observe the pressure applied by the mass media sources in favor of the modern art.


I think that for many of the 18th c. Thus, in a few years, the Modern will be less significant and the 18th century with its classic porcelainwill manage to withstand this pressure and become again a favorite of the collectors' interest. In course of the three month period, items produced by more than 45 manufactories were exhibited there.

The items were provided by 61 museums from the whole world. Never before so much objects of this theme were gathered together in one place. The GKF published a 3 volume catalogue devoted to the event. What is your attitude to what you are doing? In this sense, I consider myself to be a dilettante. What art pieces do you prefer?

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Initially, I was interested in the German porcelain of the 18th c. Now my activities concern the whole range of the European porcelain from 18th to 21st c. The period of the 'historicized' trend in art is of a lesser interest to me, for I consider it to be a 'plagiarism', which can be interesting mainly from the historical point of view. How do you make decision on a certain piece?

What shops and auction houses dealing in Russian porcelain would you like to mention?

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Is Russian Imperial porcelain is adequately valued? They often ask for my opinion in the field of ceramics. Especially when it concerns the Russian porcelain. Sometimes I write introductory parts for different auction catalogues. In recent years, the number of the German auction houses were offering items of Russian porcelain. In Germany, there is a lot of the Russian porcelain, which got there thanks to the close dynastic relations between the countries.

It would be too bald to state that the Russian porcelain both of the 18th and the 19th c.

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Being though inferior to the products of Meissen and Sevres in the 18th c. This fact is the reason of far greater prices of this porcelain comparatively to the prices of the porcelain of the other European factories of the same class.

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The situation here resembles that with the Chinese porcelain with the Palace mark, the collectors being ready to pay a great money for it. However, the 18th c. Imperial porcelain of the times of Czarina Elisabeth or Czarina Catherine the Great must be valued much higher, being produced exclusively for the needs of the Imperial Court.

So I think that the prices for this kind of porcelain are a subject to correcting. However, there is a strong competition among the antique dealers. Kandler was the first master, who produced more or less original sujets, which were later more or less exactly copied by the others. The porcelain marks of the famous producers such as Meissen were also copied to some extent in order to increase the turnover of the small manufactories. I totally rejects only the deliberate forgeries of the famous porcelain pieces made on order, such as the works of the French producer Samson.

There are great forgeries, which can be detected only by an experienced expert. This is also because it is rather complex to produce the same quality of warm colored gilding, which is characteristic for the Imperial manufactory items. All members of our management board work on the nonpayment basis. We provide a certain financial support to the scientific studies in the field of ceramics, as well as to the publications in this field. Petersburg and its environs. What do you think about museums and art collections of the Northern capital?

Petersburg was one of the most impressive in all the history of the GKF, in spite of the fact that the collections of the porcelain in the Hermitage and in its affiliate museums, unfortunately, were inaccessible to us. During the preparation of the meeting, we received a lot of help and cooperation from the officials of the St. Petersburg museums and Imperial summer residences.

Were you surprised to see some of them here? What do you think about the pieces produced by the IPM and Russian private workshops? What is the most interesting in your opinion? So, before the trip, I had a definite idea of what the Russian porcelain is and hoped to improve my knowledge of the matter. My hopes were not in vane. The impression from seeing numerous big tableware sets in the summer imperial residences in the St. Petersburg suburbs was great. It concerns big gala sets such as, for example, the Golden and Coat of Arms sets in Pavlovsk and the Guriev set in Peterhof.

These sets are in very good condition due to the careful preserving and have produced a great impression on the participants of our GKF's meeting in St. Petrersburg last year. They can serve an illustration of the strongest side of the Russian Imperial porcelain. Being placed on the long dining tables of the imperial suburban palaces they produce a breathtaking impression on the spectator mainly due to the shining splendor of their massive golden decoration characteristic of the porcelain of the IPM.

This magnificent shining of gold was aimed at creating the impression of the great power and richness of the Russia state of the 19th c. The more a man sees, the more he understands about a matter. Only this experience can help in the complicated process of telling originals from forgeries.

So, I have got to learn the kind of gold decoration characteristic for the IPM, the style of hand painting of the e. It is interesting to observe the process of the transformation of the 'elite' Imperial manufactory into a people's factory, which was accompanied by the adoption of a characteristic for the today's Lomonosov factory folk style so unusual to a Western European eye. Have you learnt anything new? So, our action had much to extent an educational character. There were not much new information for me in these reports. Petersburg, the first international conference of porcelain experts in Russia.

We know that you will be among the speakers. Why have you decided to take part in the conference? I like to study the areas, being of little familiarity to most of the specialists. Previously, partly because of the political reason, theme of the Russian Imperial Porcelain was insufficiently studied. Today, more opportunities in this field are opened, also the possibility of the exchange of ideas with the Russian experts has appeared.

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I think that these new perspectives will bring important scientific results. What do you think about such a many-sided and international approach to researching, promotion and popularization of European porcelain including the Russian one? What results do you expect from the conference? It is usually believed that the collectors and the museum workers possess some deeper knowledge of the subject than the antique dealers, auctioneers, etc. But the knowledge of the dealer is often underestimated, also their intuition in the process of discovering the unknown masterpieces.

I think that all the three groups: collectors, museum workers and traders working in the field of studying the old European porcelain are real enthusiasts, co-operating in their efforts, particularly, in the work of our GKF.

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Germany - What would you like to tell us about yourself and your collection? What is the story of your collection and what role does it play in your life? Parts of that household survived the end of the second world war and I inherited them from my mother. I began to use them, when I was a resident in ophthalmology in Essen in the sixties. But when I moved to Munich to become a senior resident at the university eye hospital there, I stored my precious porcelain in a new built-in cupboard, which collapsed the next morning.

To complete what was left over, I bought plates from an antique dealer, who at that time had plenty of them. But now I had to decide whether I wanted the pattern more clearly defined or dissolved in the glaze, more greyish blue or more dark blue. This opened my eyes to details and when I came across a private sale of some 18th c. Meissen onion pattern, I immediately realized the difference in quality and the fanciful painting. I obtained these and more pieces and I developed an increasing interest in all kinds of underglaze blue patterns.

So in the seventies I bought and bought, I delighted myself with the newest acquisitions, but by and by space became a problem. In a newly restored 18th c. But then something unexpected happened: The collapse of the German Democratic Republic and in the reunification of Germany. To the surprise of many, who did not know me well, I left my splendid position in Munich Augenklinik Herzog Carl Theodor and bought back the family mansion where my mother was born, Gross Pankow in the westernmost part of Brandenburg.