The SS-Porcelain Manufactory Allach represents an ambivalent chapter in German porcelain art that is inseparably linked to the history of National Socialism. The manufactory was founded in 1935 near Munich and was controlled by the SS organization, specifically the SS Main Office for Administration and Economics.
The figure of the Moriskentänzer “Mohr” (Moorish Dancer), based on a design by Richard Förster from 1939, belongs to a five-piece series that occupied a special place in the manufactory's product range. Moorish dances have their historical roots in late medieval Europe, where they were popular as theatrical performances with exotic costumes and masks. These dances combined European and Oriental elements and were part of courtly festival culture.
Richard Förster was among the artists who worked for the Allach manufactory. The workshop employed numerous talented ceramicists and sculptors whose artistic work was placed in service of Nazi ideology. The technical quality of Allach porcelains was exceptionally high and met the standards of traditional German manufactories such as Meissen or Nymphenburg.
The fact that this series was manufactured exclusively for the City of Munich and was not intended for public sale underscores its special status. Such commissioned works often served representative purposes and were presented as gifts to high-ranking functionaries or foreign visitors. Munich had special significance in Nazi propaganda as the “Capital of the Movement.”
The Allach manufactory produced a broad spectrum of objects, from utilitarian porcelain to decorative figures to SS ceremonial gifts. Particularly well-known were the Julleuchter (Yule candleholders), which were intended to replace Christian Christmas symbols. The economic structure of the manufactory was part of the SS economic empire, which employed concentration camp prisoners as forced laborers, initially at Dachau and later at other concentration camps.
After World War II, the production facilities were confiscated. Allach porcelains became strictly regulated objects due to their SS markings. Dealing with these pieces in the collectors' market remains controversial to this day. While some appreciate the craftsmanship quality, others emphasize the moral problems of their origin and historical context.
The SS press mark on the underside of the figures is an unmistakable identifying feature. It typically consisted of the SS runes and the inscription “Allach,” sometimes supplemented by model numbers. These markings are important authentication features today, as the market for counterfeit Nazi memorabilia is substantial.
For historical research, such objects offer important insights into the aesthetics and cultural policy of the Third Reich. They document how the Nazi regime attempted to propagate a particular understanding of history and culture through craft production. The choice of historical motifs such as the Moorish dancers shows the effort to connect with supposedly “Germanic” or European traditions.
Today, Allach porcelains are found in various museums and collections, where they are presented in the context of Nazi history. The scholarly and pedagogical handling of these objects requires a differentiated consideration that takes into account both the craftsmanship dimension and the criminal nature of the regime under whose rule they were created.
