SS Porcelain Manufactory Allach - Reclining Fawn

The Porzellan Manufaktur Allach represents one of the most ambivalent chapters of National Socialist cultural policy. The present porcelain figurine Model 151, depicting a lying fawn or doe, was designed by Professor Theodor Kärner and belongs to the late production models of this notorious manufactory.

The manufactory's history began in January 1936, following Franz Nagy's establishment of the “Keramische Werkstätten” (Ceramic Workshops) in 1935 in the Munich suburb of Allach. Alongside Nagy, Theodor Kärner, Karl Diebitsch, and Bruno Galke participated in the founding. In the same year of 1936, the SS under Heinrich Himmler acquired the factory, viewing it as a vehicle for promoting “Germanic culture” and Aryan mysticism. Karl Diebitsch, SS-Obersturmbannführer and designer of the SS uniform, became the art director.

Professor Theodor Kärner (1884-1966) served as artistic director and created numerous animal figurines, including various deer, dogs, bears, and horses. He received his appointment as professor at the Munich Academy of Fine Arts on April 20, 1938. Model 151 was one of his final designs, introduced approximately in 1942 or 1943. It is distinct from the larger and more common Model 41, which also depicts a lying fawn but stands significantly taller at 16 cm height. Model 151, by contrast, measures 10.3 cm in height.

The rapid expansion of production led in 1937 to the relocation of main manufacturing to a former World War I powder press facility on the grounds of Dachau concentration camp. The original factory in Allach continued producing art ceramics from 1942 onward. Between 1935 and 1945, the manufactory produced over 240 different ceramic and porcelain models. For comparison, the Julleuchter, a candleholder, achieved the highest single-item production with 52,635 units manufactured in 1939 alone. Animal figurines generally had lower production numbers than utilitarian items.

From 1940 onward, wartime labor shortages led to the employment of concentration camp prisoners as forced laborers, a measure Himmler had initially resisted. Approximately 40 to 50 prisoners worked in porcelain production alongside German civilian workers. The Allach sub-camp of Dachau concentration camp held approximately 3,000 Jewish and 6,000 non-Jewish prisoners. The factory operated until late April 1945, when U.S. forces of the 42nd Rainbow Division liberated the Allach sub-camp on April 30, 1945, one day after the liberation of the main Dachau camp.

The porcelain pieces were both sold commercially to the German public and used as presentation gifts. Heinrich Himmler controlled approximately 45 percent of the factory's output for gifting purposes to SS officials, party leaders, and personal acquaintances. The manufactory maintained retail shops in Berlin, Munich, and in occupied territories. Animal figurines such as Model 151 belonged to the more “apolitical” commercial products, though all bore the SS runes as the maker's mark.

The base markings include the embossed SS Allach manufactory mark with SS runes in an octagon, the artist signature “PROF. TH. KÄRNER” or “Prof.Th.Kärner,” and the model number “151.” The present example was manufactured in white glazed hard-paste porcelain, though some models were also available in hand-painted or colored variants.

Following the collapse of Nazi Germany and the liberation of Dachau, production ceased in April/May 1945 and the factory was permanently closed. Franz Nagy resumed limited production but used an “N” (Nagy) mark instead of the SS runes. Theodor Kärner was interned from 1945 to 1947 at Moosbach camp during denazification proceedings and later reused some Allach molds while working at Eschenbach Porcelain Manufactory (1947-1953) in the U.S.-controlled zone.

Allach porcelain remains highly collectible but ethically controversial due to its forced labor production. Pieces fetch thousands to tens of thousands of dollars or euros at auction. Modern debate concerns whether trade in slave-labor-produced objects should be restricted under modern slavery legislation. Museums and historians preserve such pieces as historical evidence of Nazi cultural propaganda and concentration camp economic exploitation rather than as glorified art objects.