Porcelain figurines: copies & originals

For some time now, the Russian Imperial Porcelain Factory (St. Petersburg) has decided to resume the release of some porcelain figurines of its masters of the past. The history of the plant, which began in 1744, boasts a large number of works of excellent quality and fine taste, reflecting the artistic tendencies of their eras. Of course, the enterprise stores in its archives model forms, sketches of drawings of decor, a description of the technology of their creation, etc., which allows to perform copying quite accurately. But also modern technologies do not stand still: new compositions of porcelain masses, materials for production of model forms have been discovered, modern high-tech pigments and paints for high-temperature porcelain have been obtained. We decided to compare the originals created by Russian masters 100 or more years ago, and their modern replicas. Fortunately, many porcelain figurines of the Imperial Factory are in the collection of the State Hermitage and are open to the general public. So, see for yourself:

Figurine “Lady with a mask”

Porcelain figurine Lady with a mask, original and replica

1, 2 – Both of two figurines from the collection of the State Hermitage, St. Petersburg, Russia. They were created in 1906. The author of the model and the painting: Somov Konstantin Andreevich (1869-1939).

3 – A modern replica of the “Lady with a Mask”, made at the same Imperial Porcelain manuactory by the author’s model.

Porcelain figurine “Lady with a mask” is one of the best works created at the Imperial Porcelain Factory by the famous Russian artist of the “World of Art” association KA. Somov. A great connoisseur and collector of European and Russian porcelain, the artist began to work in new material in 1905. For two years he performed three sculptures: “Lovers”, “Lady with a mask”, “On a stone.” Heroes of porcelain plastics Somov are gallant characters in his paintings. Author’s samples left to the plant for copying, represented contemporary art at the exhibition “Two Centuries of Russian Painting and Sculpture” in Paris, arranged by S.P. Diaghilev in 1906

Figurine “Anna Akhmatova”

Porcelain figurine Anna Akhmatova, original and replica

1 – The statuette is from the collection of the State Hermitage. It was created in the USSR in 1924. The author of the model: Danko Natalia Yakovlevna (1892-1942); The author of the painting: Danko Elena Yakovlevna (1898-1942).

2 – Modern recreated statuette “Anna Akhmatova” of the Imperial Porcelain manuactory according to the model of N. Danko.

Natalia Danko is known for her sculptures depicting the bright heroes of the Russian revolution and the scene from the daily life of Petrograd. In addition to this direction, she was engaged in creating portraits of her contemporaries. Being a magnificent sculptor, Danko possessed a special talent to grasp the image, the idea in the surrounding reality and transfer it to porcelain. She repeatedly visited the cult cafe in St. Petersburg “Stray Dog”, where frequent guests were representatives of St. Petersburg Bohemia. Among her friends, whom she embodied in porcelain sculptures, were artists, dancers, poets … One of the best in this series is rightly considered the portrait of the poetess Anna Andreevna Akhmatova – one of the most significant figures of Russian literature of the XX century.

Figurine “Fortune-teller”

Porcelain figurine Fortune-teller, original and replica

1 – The figurine is in the collection of the State Hermitage. It was created in the USSR in 1922. The author of the model: Danko, Natalia Yakovlevna (1892-1942); The author of the painting: Bryantseva, Maria Alexandrovna. (1885-1942).

2 – A replica of the statuette “Fortune-teller” of the Imperial Porcelain manuactory according to the model of N. Danko.

The famous sculptor N.Ya. Danko is considered the founder of Soviet porcelain plastics. From 1919 to 1941 she headed the sculpture workshop of the State Porcelain Factory. She created more than 300 works that formed a kind of porcelain chronicle of the first decades of the diverse life of post-revolutionary Russia. “Fortune-teller” – one of the genre scenes of the colorful life of the city streets of post-revolutionary Petrograd, seen by the author and talented embodied in porcelain. The work is executed in a realistic manner with careful study of details, with fine modeling and drawing of clothes. Delicate painting harmoniously combines with the shape and revitalizes the sculpture, giving it special decorative.

Figurine “Girl – water-carrier”

Porcelain figurine Girl – water-carrier, original and replica

1 – Figurine is from the collection of the State Hermitage. It was created in 1817-1820. The author of the model: Pimenov Stepan Stepanovich (1784-1833)

2 – The reconstructed statuette of the “Girl – water-carrier” of the Imperial Porcelain manufactory by the model of S. Pimenov.

In the porcelain plastic of the first third of the XIX century. have further developed the principles of classicism. At the Imperial Porcelain Factory at this time there were the same “Girl – water-carrier”, “Boy – water-carrier”, “The Girl with a broken pitcher”, close in interpretation to the figurative grounds of the vases of the Guryevsky Service. The sculpture “The Water-carrier”, conceived as a written device, depicts a girl in a national Russian costume, in a kokoshnik, with a yoke on her shoulders. Buckets with covers have a functional significance – they serve as an inkwell and sandbox. The author of the sculpture is the head of the sculpture workshop of the St. Petersburg production of S.S. Pimenov, whose romantic porcelain images are close to the peasant heroes of the paintings of the famous russian artist A.G. Venetsianov.

Figurine “Girl with a yoke”

Porcelain figurine. Girl with a yoke, original and replica

1 – The figurine is from the collection of the State Hermitage, was created in Soviet Russia in 1923. The figure is made according to the model of S. Pimenov, the headpiece of the girl and the bending of the hands are slightly changed.

2 – Reconstructed statuette “Girl with a yoke”  of the Imperial porcelain factory according to the model of 1923.

The figure “Girls with a yoke” is very similar to the previous one. For the basis of the statuette is taken the famous sculpture of Pimenov SS, the headpiece of the girl is slightly changed, the arms bending holding the rocker. The costume on the 1923 statuette (1) was made in the fashionable at that time fantasy style of the famous Russian seasons of Sergei Diaghilev, on modern (2) – in a restrained spirit of folk traditions with gold trim.

Figurine “Girl with a broken pitcher”

Porcelain figurine Girl with a broken pitcher, original and replica

1 – The statuette is in the collection of the State Hermitage. Created in the first quarter of the XIX century Model Author: Pimenov Stepan Stepanovich (1784-1833)

2 – A modern statuette “A girl with a broken pitcher” of the Imperial Porcelain manuactory by the model of S.Pimenov.

Sculptural group “Lovers”

Фарфоровая скульптурная группа Влюбленные, оригинал и копия

1 – Sculpture from the collection of the State Hermitage, St. Petersburg, Russia. They were created in 1905. The author of the model and the painting: Somov Konstantin Andreevich (1869-1939).

2 – Reconstructed sculpture group “Lovers”  , executed at the same Imperial Porcelain Factory by the author’s model.

“Lovers” – this is one of three works, made in porcelain by the Russian artist of the association “World of Art” K.A. Somov

In our store there are porcelain figurines from this collection of museum replicas.

Imperial porcelain factory: history and modernity

Brand of the Imperial porcelain manuactory

The Imperial Porcelain Manufactory (IPM) was founded in 1744 in St. Petersburg. Today in its assortment there are about 4000 thousand items of hard and thin-walled bone china: services and souvenirs, vases, genre and animal sculpture, decorative interior items, as well as museum replicas. On the left is a modern brand of the plant, in a special article historical IPM brands have been collected, since its foundation.

Since the plant has always developed under the patronage of the imperial persons or the state, its history has been divided into several main periods related to the years of the rule of the first persons of Russia.

Terracotta, ceramics, faience, porcelain – differences

Art pottery – the history of development in western culture

Art pottery – the latest history.

As is known, the term “art  pottery” applied to Western culture is a designation for traditional ceramic forms, such as vases, bowls, dishes, design and decor of which distinguishes them from simple utilitarian products. In Japan and China, works of art ceramics are known since 1000 AD. Or earlier, but in Europe the practice of its mass production dates back only to the 16th century AD when a Frenchman named Bernard Palissy produced brightly painted high-relief glazed earthenware plates and jugs in a style that is known as majolica (from Italy. Majolica – the old name of the island Mallorca, through which were imported into Italy works of Spanish-Moorish ceramics).

For centuries, majolica was mainly produced on the continent. Glazed majolica was common in Spain and, especially, in Italy, where firms such as Ginori and Cantagalli became leading in its production. In Germany, famous for its majolica was the Royal Porcelain Manufactory, and only in the middle of the XIX century it began to produce the British. Majolica quickly gained popularity among ordinary people. The colors were bright, and the reliefs often represented animals and plants. Some potters produced kettles, for example, in the form of cauliflower. Became a classic Wedgwood, he liked to decorate the surface of standard shapes with patterns with weaving and relief foliage. Although, of course, the most famous were his products on classical Greek themes with white relief figures on a blue background.

Glazed pottery conquers America.

In America, the fascination with majolica has been strengthened since the 19th century. As in England, the potters covered their products with transparent glossy glazes. Some of the well-known manufacturers of Pennsylvania are Griffen, Smith & Hill, who sometimes labeled their products with the symbols “GSH” or referred to them as “Etruscan ceramics.” Other American companies famous for their majolica in the second half of the 19th century were Morrison & Carr, Chesapeake Pottery, And Edwin Bennett. They made dishes for dessert, plates for ice cream in the form of straw hats decorated with ribbons, and kebabs in the form of cabbage. One of the popular forms of majolica was a pitcher, which was sometimes projected from vertical slices of wide bamboo, with thin branches of the same bamboo used for the jug handle. Other jars resembled sheaves of ears, while the syrup vessels were often decorated with fat sunflowers or bunches of leaves and flowers. Plenty in the form of leaves were produced in abundance. The leaves of begonia, in this case, were especially popular. Also, boxes were made in the form of sardines, and cigarette cases topped with African American figures known as “black cupid.” Animals, especially bulldogs and pigs were considered ideal forms of boxes in which it was possible to store tobacco.

Modernism in majolica.

By the 1890s, majolica was enriched with art nouveau products. It turned out that clay is especially suitable for self-expression in the Art Nouveau style. Its malleable organic nature allowed artisans at the turn of the century to turn it into vibrant floral arrangements, lines of the female body and whimsically twisted vines. The introduction of new glazing technologies added bright colors, which also contributed to the expression of sensuality in the Art Nouveau style.

These new movements inspired porcelain and tableware manufacturers across Europe and the United States to open workshops for the production of ceramic products in which gifted artists and chemists were often given the opportunity to experiment, create pots by hand and test new glazing technologies.

Some studios have focused on the technique of glazing, seeking to achieve the ideal color, opacity and texture. In particular, the firing process often led to unpredictable results, such as uneven color, streaks or blisters – such “imperfections” gave the product a unique character. Often the pots made simple shapes, empty canvases, then to decorate with stucco flowers, textures and painted images. French masters in the Art Nouveau style have developed two-tone marble and crystalline effect glazes, as well as deep red and metallic glazes in rich blue, yellow, orange and purple tones.

Other ceramists invest their energy in creating unique shapes for their vessels, making almost airy vases inspired by Japanese ceramics. Three-dimensional relief effects were achieved by threading on moist clay, turning into flowering flowers, plant stems, animals or female figures. Handles were in the form of twisted vines, branches, leaves, or even seductively bending women. You could meet vases that have the shape of a bird or flower bud.

Finally, in ceramics in the Art Nouveau style, produced by large factories, in contrast to the products of individual artists, the surface decoration with experimental glazes predominated. These products were decorated with images inspired by Viennese separatists and Art Nouveau artists, as well as Japanese art, including flowering plants, exotic birds such as peacocks, and an extremely popular flower woman. In France, a factory was built to produce luxury ceramics in Sevres. Its forms were inspired by female figures, as well as Chinese architecture and ancient Turkish, Persian and Far Eastern motifs. Vases were usually painted in thin pastel colors. A distinctive feature of some Sevres art nouveau vases are the gilded bronze bows and lining that emphasize the design of the vessel.

In the Netherlands, the Rozenburg plant introduced great innovations in the design of molds. There in 1899 was presented a wonderful “porcelain egg shell”, in fact, extremely thin and light clay, reinforced with glaze from the inside and outside. This beautiful and delicate pottery presented intricate and beautiful images of flowers, insects and birds painted by S. Schellink and R. Sterken. An architect, potter and textile designer working there, Theodoor Colenbrander left Rozenburg to form his own Gouda Ceramic Factory. He found the Art Nouveau style particularly suited to his tastes, as he preferred bold colors and shapes inspired by Javanese products from the batik. Large German manufacturers, such as Meissen and Konigliche Prozellan Manufaktur, took advantage of the popularity of the Art Nouveau style and began applying decorative painting on their vases.

Goldscheider in Austria and Royal Dux in Czechoslovakia, specialized in sculptural figures. Some of the most popular ceramic products from Bohemian Art Nouveau were made by Reissner, Stellmacher & Kessel (R.S.K.). This ceramics is known for exotic and organic forms with carved or relief decorations from flowering and fruiting plants, painted with bright enamel. Handles represented bizarrely curved branches of plants. Painted ornaments, inspired by Art Nouveau, often represented the dreamy, pale face of a woman, surrounded by curls of long hair and a gilded halo. This style was so popular that R.S.K. Applied it to wall masks, sculptural figures and clay vessels decorated with cabochons.

Another innovative Czech company Zsolnay made breakthroughs in luster and iridescent glazes. The owner of Vilmos Zsolnay attracted the most talented foreign artisans and chemists who helped him to present a wide line of marble, iridescent and crystalline glazes. The most popular of these was the iridescent glaze, known as “eosin”.

In England, ceramist William Moorcroft widely used contour drawing techniques for his popular line of Florian ceramics in the Art Nouveau style, offering images inspired by Etruscan, classical Roman and Far Eastern ceramics, with a thin line of colored patterns.

Designer Christopher Dresser also used contour drawing for his work in the studio Minton Art Pottery. The largest factory for the production of glazed ceramics Doulton & Co. Opened a studio in south London in 1871 for the production of handmade art nouveau products. Due to its proximity to the art school of Lambeth and cooperation with it, a talented pool of artists and designers has formed in the studio. These artists could choose the shape and decor of the vases that they created. Their vessels were usually simple in form and decorated with drawings of flora or fauna.
In the United States, Rookwood, one of the largest ceramics producers in the country, did not adopt the philosophy of handmade art nouveau style, but sought to develop it in its own way. The company hired the best chemists and designers to develop innovative glaze recipe and new decorative techniques. The first breakthrough was made by the artist Laura Fry, who came up with a blurred background. Its most successful lines in the Art Nouveau style include floral “Iris Glaze” and works in the “Vellum Glaze” technique.

Louis Tiffany also created artistic ceramics, but unlike his glass and stained glass lamps, this is the only area in which he was not successful. He never covered his ceramics with beautiful images; He wanted her forms and glazes to speak for themselves, although in his later works there were also relief images, such as cattails, flower sockets or fish floating in a creek. Perhaps the most remarkable American potter of this period is George Ohr, Mississippi, an artist who created stunningly modern and brightly colored vessels with thin, like paper, walls that crumble, twist and pendant in stunning organic forms. George Ohr himself extracted clay, created his glazes and even built his own ceramic oven.

William Grueby also created his own American line of pottery in the Art Nouveau style. When he opened his company Grueby Faience Co. In Boston, his goal was to achieve “organic naturalism”. His firm created beautiful vegetative matt glazes, and its products looked as if they were made from wide live leaves and pumpkins.
Although the pots were usually green, Grueby also used its high-quality frosted glaze in different colors to make fine ceramic tiles.

In the twentieth century, artistic ceramics, especially in Europe, seem almost on the verge of insanity. Swedish pottery in the first half of the twentieth century has a strong influence of Art Nouveau and Art Deco styles, and Danish ceramics has acquired a modernist aesthetic even before its modern movement became stronger after World War II. The largest pottery factory in Sweden was Gustavsberg, whose leading designer at the end of the 19th century and in the first half of the 20th was Josef Ekberg. Early vases of Ekberg were distinguished by floral and decorative ornaments in the Art Nouveau style using the sgrafitto technique. Later, products from the 1920s had fewer ornaments, but they were often covered with iridescent glazes.

Eksberg’s protector, Wilhelm Kage, is known for its high geometric spindle-shaped vases that sit on cropped bases resembling small inverted flower pots. Even more modernist were the works of Berndt Friberg and Stig Lindberg, but the most recognized designer of Gustavsberg was undoubtedly Lisa Larson, who from 1954 to 1980 created for the company statuettes of stylized domestic and wild animals. Today Larson and her assistants continue to work in her studio.

Another large Swedish producer of ceramics was Rorstrand, whose ceramics of the 1940s and 50s, created by Gunnar Nylund, evolved from objects inspired by art deco into biomorphic inclined bowls and bulbous vases, which Rorstrand is so famous for. Another Rorstrand designer in the middle of the century, Carl-Harry Stalhane, created more geometric shapes, producing vases in the 1950s, which retrospectively resemble NASA’s 1960s landing modules.

Traditions of art ceramics in Denmark are even more profound. Factories such as Royal Copenhagen and Bing & Grondahl used designers such as Axel Salto. His “Budding” and figures in the form of a pumpkin in the 1930s are perhaps the most famous. Nils Thorsson spent more than 60 years at Royal Copenhagen, creating the Marselis line for the company Aluminia.

One of the most sought-after brands of Danish art pottery is the vases and bowls produced in the period from 1930 to 1968 by Saxbo, which was founded by Nathalie Krebs. A former glaze chemist at Bing & Grondahl, Krebs created many of the elegant forms of Saxbo that ranged from bottle vases to star-shaped bowls.

In post-war West Germany in the 1960s and 1970s a style known as “fat lava” appeared. This style derives its name from the thick multicolor glazes typical of this pottery. Products look as if their surfaces consist of frozen lava flows in bright shades from fiery red to cobalt blue. While these glazes are known as glazed glazes, they have become “fat” as a result of the enthusiasm of the public especially thick and textured. In this technique, large floor vases, one-side jugs (some with ring handles) and sculptural compositions that combined smooth and textured surfaces were produced. Some products in the style of “fat lava” appear to be echoes of macrame aesthetics and hippie culture of the 1960s, while others look like a postmodern, almost pop-cultural trail.

During the preparation of the article, materials from collectorsweekly.com were used.

Russian porcelain marks

As noted in the article Imperial Porcelain Factory: history and modernity, the plant has always developed under the patronage of the ruling elite – the monarchs or, later, the state. Therefore, the marking of manufactured products always included state symbols: the monogram of the emperor, the coats of arms or monarchical symbols.

Marks of the Imperial porcelain of the Elizabethan period (1744 – 1761)

Mark of imperial porcelain 1744 - 1761 (1) Mark of imperial porcelain 1744 - 1761 (2)

Since its foundation in 1744, the plant has been known as the Nevskaya Porcelain Manufactory. Russian chemist D.I. Vinogradov, the founder of Russian porcelain, marked the first articles with the capital letter of his name, adding a year or the exact date of their manufacture. Some labels include the recipe number for the porcelain mixture.

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Later, from the mid-1750s, the brand takes the form of a two-headed eagle. The image was applied by the method of pressing into the mass or in the form of underglaze or overglaze painting of blue, black or gold.

… Catherine II (1762 – 1796)

Mark of imperial porcelain 1762 - 1796 (1) Mark of imperial porcelain 1762 - 1796 (2) Mark of imperial porcelain 1762 - 1796 (3) Mark of imperial porcelain 1762 - 1796 (4)

With the reign of Catherine II, the brend was depicted in the form of an imperial monogram: the letter “E” with the Roman numeral II. The color is blue or gold, applied under the glaze or on top of it.

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During this period, mass production of porcelain dishes for the needs of the court and palaces of Catherine begins, such products are marked with the symbols “Придвор”, “ПК” – which means “Court Office”, or the image of the crown over the grate. Sometimes together with them the year of manufacture was put.

… Paul I (1796 – 1801)

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We see that the marking of porcelain products continues the tradition in the form of a monogram of Emperor Paul I crowned with a crown. The dishes for the courtiers are also marked with the symbols “ПК”. but with the letter “П” at the top. The colors are the same: blue or gold, above the glaze or under it.

… Alexander I (1801 – 1825)

Mark of imperial porcelain 1801 - 1825 (1) Mark of imperial porcelain 1801 - 1825 (2) Mark of imperial porcelain 1801 - 1825 (3)
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Under Alexander I, the brand predictably takes the form of the letter “A” with the crown. As you can see, if the name of the emperor is unique at the time of his accession, the figure I was never put. A large variety of character tracings is due mainly to manual marking during this period. The colors and place of application continue the tradition: blue or gold, above the glaze or under it.

… Nicholas I (1825 – 1855)

Mark of imperial porcelain 1825 - 1855 (1) Mark of imperial porcelain 1825 - 1855 (2) Mark of imperial porcelain 1825 - 1855 (3) Mark of imperial porcelain 1825 - 1855 (4)
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Nicholas I somewhat changes the tradition: the monogram in a different outline with the crown remains. but I is added to the name of the emperor. On some stamps the crown is executed very picturesquely with careful drawing of details. Colors remain: golden or blue.

… Alexander II (1855 – 1881)

Mark of imperial porcelain 1855 - 1881 (1) Mark of imperial porcelain 1855 - 1881 (2) Mark of imperial porcelain 1855 - 1881 (3) Mark of imperial porcelain 1855 - 1881 (4)
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The color of the marking changes: it becomes olive-green under the glaze, sometimes golden in the glaze. The image represents the letter A and the Roman numeral II above which the crown hovers, in some cases the monogram lies in the laurel wreath.

… Alexander III (1881 – 1894)

Mark of imperial porcelain 1881 - 1894 (1) Mark of imperial porcelain 1881 - 1894 (2) Mark of imperial porcelain 1881 - 1894 (3) Mark of imperial porcelain 1881 - 1894 (4)

Mark under Alexander III, as it is not difficult to guess, differs from the previous Roman figure III. The colors are the same: olive green under the glaze or gold on the glaze. With the last two emperors, the brand of porcelain is sometimes supplemented with the last two digits of the year of manufacture of the product.

… and Nicholas II (1894 – 1917)

Mark of imperial porcelain 1894 - 1917 (1) Mark of imperial porcelain 1894 - 1917 (2) Mark of imperial porcelain 1894 - 1917 (3) Mark of imperial porcelain 1894 - 1917 (4)

The mark has the form of a letter H with a crown at the top and a Roman number II below. Sometimes put the year of release. Colors: olive green under the glaze or gold on the glaze.

Marks of the State Porcelain Factory (1917 – 1925)

Mark of the State Porcelain Factory 1917 - 1925 (1) Mark of the State Porcelain Factory 1917 - 1925 (2) Mark of the State Porcelain Factory 1917 - 1925 (3)

After the February revolution of 1917 and the abdication of Nicholas II from the throne, a huge country suddenly left without a flag, a coat of arms and state symbols. Therefore, for the first few months, porcelain was simply marked as the year of manufacture. From this period the name of the enterprise is changed to the “State Porcelain Factory” (GFZ). From March 21, 1917 until July 10, 1918, the double-headed eagle, deprived of imperial regalia, becomes the emblem of the Russian Republic, and it also appears on the stamps of the GFZ during this period. Further brands of the plant are a reflection of the political life of the country.

Mark of the State Porcelain Factory 1917 - 1925 (4) Mark of the State Porcelain Factory 1917 - 1925 (5) Mark of the State Porcelain Factory 1917 - 1925 (6) Mark of the State Porcelain Factory 1917 - 1925 (7)
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The October Revolution of 1917 presented the country with a new state symbol – a crossed hammer and sickle, which we can see on the variations of the factory grades of the GFZ. The figures also show signs dedicated to helping the starving Volga region, the anniversary of the October Revolution, export versions with the inscriptions “made in Russia” and “made in Russia USSR”.

Marks of the Lomonosov Porcelain Factory (1925 – 2005)

Mark of the Lomonosov Porcelain Factory 1925 - 2005 (1) Mark of the Lomonosov Porcelain Factory 1925 - 2005 (2) Mark of the Lomonosov Porcelain Factory 1925 - 2005 (3) Mark of the Lomonosov Porcelain Factory 1925 - 2005 (4)
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In 1925, in connection with the anniversary of the Russian Academy of Sciences, the plant was named after M.V. Lomonosov, from this moment he becomes the “Leningrad State Porcelain Factory named after MV Lomonosov. Lomonosov “, abbreviated as” Lomonosov Porcelain Factory “(ЛФЗ). During this period, the abbreviation “ЛФЗ” is present on almost all the stamps of the plant, although the outline of the symbols is changing. Export options are also accompanied by the inscriptions “made in Russia” and “made in Russia USSR”. From 1970 to 1989, the brand indicates the grade of products and the product complexity group. 1 grade was marked in red,  2 – in blue and 3 – in green. Brands of jubilee issues were supplied with a laurel wreath. From 2002 to 2006, hand-marked products with the inscription “hand decorated ЛФЗ 1744 St.Peterburg Russia”.

The modern brand of the Imperial Porcelain Manufactory since 2005

The modern brand of the Imperial Porcelain Manufactory since 2005In 2005, the company returns its historical name “Imperial Porcelain manufactory” (IPM). The current brand of IPS dark blue (cobalt) color, is reduced to a single standard and does not allow for variations.

Products of the Imperial Porcelain manufactory…