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Issues of 2008
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“La maladie de porcelain” of doctor Ziffer
— “Keramos” journal is meant not only for experts and collectors, but also for those who are interested in ceramics and porcelain, in particular. What is your audience? Are there any subscribers of your journal in Russia?
— The journal is meant for members of the Gesellschaft der Keramikfreunde (society of friends of ceramics) only. As our members have very different interests the magazine covers various themes from archeological excavations to contemporary avant-garde workshops. Of course we regularly pay attention to the problems connected with Meissen Òorcelain and porcelain produced by other European manufactories. — What would you like to tell us about yourself, your journal and your scientific interests? What role do they play in your life? — Studying history of arts and classic archeology at the universities in Munich and Bonn I finished with a doctoral thesis about the German designer Wolfgang von Wersin (1882–1976). Dealing with other materials and workshops, through 1928–1964 he designed all tableware, vases, chandeliers etc. for the Nymphenburg porcelain manufactory. This was my first contact with the material and today it is my life and hobby at the same time. Collecting tableware I am using all my coffee — or tea-sets more or less every day. When I invite my friends for a dinner I choose tableware for my guests very carefully, as some of them prefer rococo, while the others are fond of art nouveau pieces. — Being curator of Bauml collection of Nymphenburg Porcelain and editor-in-chief of a renowned scientific journal, which is publishing essays by major European collectors, are you a collector yourself? — I am a freelance art historian and being curator of the Bauml is just a part time job. To be the editor-in-chief of “Keramos” is an honor for me. Because the Bauml Collection concentrates on XVIII–XIX century porcelain and has only a small stock of the early 20th century which we do not enlarge, I can follow my own preference in modern art. My favourites are well designed porcelain pieces of the early XX century with an emphasis on Nymphenburg and other German manufactories. Also all items from the early arts-and-crafts movement in Germany are of interest to me; unfortunately, they are very rare at the market.
— What is the difference between a hobby and a serious collecting? What is your attitude to what you are doing? — If collecting is a hobby you can stop it any time. It is also a question of knowledge about the field. To be a collector is an illness like Augustus the Strong already confessed with the words about “la maladie de porcelain”. If you are not so rich to buy any object you see you have to make decisions. I always try to buy things I know a lot about and have not seen within the last 20 years and presume they are rare. Sometimes you see the same porcelain two weeks later for the second time... — What is your favourite period in history of ceramics? What art pieces do you prefer? — I started with art about 1800 and changed to German Art Nouveau but today the most important attraction of an object for me is quality — no matter how old. — Where do you search for rare and unique pieces for your collection? How do you make decision on a certain piece? — I am looking in magazines for the schedule of the important auction houses and stay in touch with specialized dealers. Sometime collectors also offer an object. Before I buy porcelain I prefer to get it for a certain time in my office to have a look on it. When I think that it is attractive for the collection after 14 days, then I conclude a deal. Of course there is no time at auctions for long considerations but I always think about the future position in a showcase and make my research before the auction. — Do you take part in auctions? — Often, in Germany and abroad, personally or on the telephone. I know many of the colleagues working in auction-houses and stay in touch with them.
— Are you (or your journal) involved in any charity programs? — No. — In autumn 2006, together with a large group of members of GKF you visited St. Petersburg and its environs. What do you think about museums and art collections of the Northern capital? — The long silence between our countries made people forget, how much wonderful artworks you can see in St. Petersburg and MosÓow. On the other hand your specialists could research European collections by studying European scientific literature and exchanging information with other specialists. Both sides will only win from permanent contacts between curators and collectors. — What artworks by German factories and private workshops from Petersburg-based museums interested you most? Were you surprised to see some of them here? — Of course, first of all I paid attention to objects produced by my favourite manufactory Nymphenburg. Although it was always a rather small business, St. Petersburg museums possess many important pieces dating from all periods of its existence — from 1747 (the foundation year) till 1913. In this year the last order of the Imperial Porcelain Manufactory was send to Bavaria and all the items of this list are still in the collection of the IPM today. Generally there had been a lot of discoveries for our group. International cultural interrelations in XVIII and XIX century left traces everywhere — you can see it with your own eyes visiting any of Russian museums. — Why have you decided to take part in the first international conference in Russia “Vinogradov Readings 2007” in St. Petersburg? What do you think about the pieces produced by the Imperial Porcelain Factory and Russian private workshops? — Until now I knew little about the modern production of Russian manufactories and workshops and would like to learn more about them, especially about the private companies. — “Keramos” is one of the media sponsors of “Vinogradov Readings – 2007”. What results do you expect from the conference? — I wish there were more open and efficient contacts between scientists in both countries. — The State Hermitage and the State Museum-reserve “Peterhof” are institutional members of GKF. What do you think about the possibility of GKF membership for other Russian museums? — Everybody can become a new member of our society if he is recommended by two of our members. We are very proud that the State Hermitage and the State Museum-reserve “Peterhof” are GKF members.
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