Hutschenreuther Figures

        

Collaboration with distinguised artists gives the Hutschenreuther decorative figures their exceptional quality. Over 100 sculptors and porcelain artists have lent their creativity and imaginative expression to Hutschenreuther over the years. The artistic division was established as early as 1917. The first designs are the work of Professor Fritz Klee. In 1922 the sculptor Carl Werner took charge of the artistic department. The same year saw the beginning of the creative collaboration with Karl Tutter who, during the four decades of work, went on to create masterly crafted sculptures which received worldwide recognition. In the middle of the 1930s Adolf Pfeiffer - previously general director of the state porcelain manufacturer meissen - became artistic consultant and initiated the partnership with artists such as Professor Paul Scheurich and Max Esser.
Hans Achtziger's arrival in 1948 was an important event for the fortunes of Hutschenreuther's artistic department. Several of his figures are renowned throughout the world even today. In 1956 the young sculptor Gunther R. Granget joined the team. Having received his training under Carl Werner and Karl tutter, he devoted his energies mainly to creating animal figures. Granget's motifs, his artistic expression and his exceptional ability as a craftsman lend the collection new, internationally recognised inspiration.

 

	The artistic design is developed Developing and shaping his sculpture gradually, the sculptor refines his design, until he achieves a perfectly executed model master out of Plastilin, a material similar to clay but permanently shapeable. During this process he looks for the best possible expression in his own style taking into account the material attributes of porcelain.
	The original model takes its shape The artistic and technical design of the original is craftmanship in greatest perfection. Because of shrinkage during the final firing, the sculpture loses 16% of its volume and must therefore be made about one sixth larger than its ultimate dimensions..
	The plaster original is cut apart The plaster original is made from the Plastilin original and the sculpor refines his design. It needs quite manual skill to cut the plaster original in up to 600 single parts which need to be casted in a manner allowing perfect assembly. All following production steps depend on the quality of this process.
	The individual parts are glazed To create the master mold the individual parts and the props with the firing supports are glazed. Props and firing supports are aids used to avoid the deformation of the sculpture in the kiln. In two further manual steps working molds are made from the plaster original.
	Casting the individual parts A working mold will be exchanged after the 10th use. The mold is filled by hand with liquid porcelain clay, called "slip". A firm, leathery layer of porcelain clay builds up on the inner walls of the mold - the hollow parts of the sculpture rise under a regular control of its material thickness.
	Retouching During the assembly and retouching stage the sculpture emerges as a whole for the second time. In the process, liquid slip is used to put the individual parts together so that they can be positioned on the firing supports.
	The drying process requires patience Before the bisque firing at 900°C (1650°F) the remaining moisture of the raw sculptures need to evaporate. It takes up to 14 weeks to dry a sculpture - at room temperature, free of percussion and of draught. A shorter drying process may cause suspension fissures visible after the first firing earliest.
	The sculpture gets painted by hand A painter decorates individually each master piece following a color master created by the sculptor and the master painter in close co-operation. This happens eather before or after the glost firing at 1300°C (2370°F), dependent on the kind of decoration - either underglaze or onglaze.
	The sculpure in the third firing All onglaze decorated sculpture need to pass the decor firing at 800°C (1472°F). Props and firing supports are taken away from the sculpture and the flawless masterpiece gets smoothened and polished manually.
	The masterpiece: »Abstreichende Schwäne« All finished figures sit in the main stock waiting for their commission. It is breathtaking to see the figures in all their splendour. Careful packaging of every single figure avoids breakage during the shipment in every part of the world.