Amphora
In 1892 Alfred Stellmacher (pictured), after 17 years as a leader in ceramics production, encouraged his son and sons-in-law to establish a porcelain manufactory. Named for its owners Riessner, Stellmacher and Kessel (RSt&K), and also employing son-in-law Paul Dachsel, the firm consistently marked pieces with the word Amphora by the late 1890s and became known by that name. Several important series made between 1894 and 1904 feature realistically sculptured plants and animals, prehistoric and mythical creatures, Klimt- and Mucha-style portraits, and simulated jewels.
The Amphora factory was located in Turn-Teplitz, Austria (now the Czech Republic). Teplitz, once a spa town that attracted the likes of Goethe and Beethoven, had lost its luster over time because of the increasing intrusion of industry. Turn, which had served Teplitz's spa-goers with diversions including lush gardens and beautiful villas, was also affected by gradual industrialization. By the mid-19th century, the area formed a de facto ceramics production center that was also home to Kunstkeramik Paul Dachsel, Eduard Stellmacher and Co., and Ernst Wahliss and Co. Porcelain manufactories found the region advantageous because local riverbeds provided an abundant supply of kaolin, the essential ingredient of porcelain, and the rivers themselves were handy sources of energy. The Imperial Road to Saxony and the railroad system were added advantages.
When originally incorporated, Amphora imitated the Orientalist and Neo-Baroque styles favored by Alfred Stellmacher. But thanks to skilled designers like Eduard Stellmacher, Paul Dachsel and a host of decorators from the Special Ceramics School of Teplitz, Amphora quickly developed a unique genre of Art Nouveau ceramics. What unified its output was an unparalleled concern for fine design and the use of Alfred Stellmacher's "ivory porcelain," a matte yellowish material that was malleable, yet resistant to high temperatures. Amphora's stylistic diversity, combined with its unwavering standard of quality, made it a world leader among industrial manufacturers of art pottery.
Important series from one remarkable decade—1894 to 1904—feature plants (including applied flowers and fruit), animals, mythical creatures, Klimt- and Mucha-style portraits, biomorphic designs, and simulated jewels. The vast array of glazes that adorn Amphora ceramics defies brief description. The departure of Paul Dachsel in 1903 and Eduard Stellmacher in 1904 ended Amphora's golden age.
