Amphora Pottery, originally known as Riessner, Stellmacher & Kessel (R.S.K.), was founded in 1892 by Alfred Stellmacher in Turn-Teplitz, Bohemia. This renowned ceramic manufacturer made significant contributions to the Art Nouveau movement, gaining international acclaim for its exquisite earthenware vases and other decorative pieces. The factory’s history is intertwined with the personal and professional journey of its founder, Alfred Stellmacher, and his family. This Amphora Pottery feature includes a brief history, and focuses on the early stunning examples, with some examples along with a price guide of their realised prices at auction.
Born on October 11, 1837, in Steinheid, Thuringia, Stellmacher honed his skills in various ceramic factories in the region. In 1876, he established his first porcelain factory in Turn, where he began producing porcelain flowers renowned for their superior quality, even surpassing French counterparts. It was during this period that Stellmacher developed a new ceramic material known as ivory porcelain. This innovative material, characterized by its soft yellowish shade and matte finish, enabled more intricate modelling and detailing, enhancing the aesthetic appeal of his creations.
The factory’s early production focused on decorative pieces in Orientalism and Neo-Baroque styles. The Neo-Baroque influence, in particular, allowed for inventive design elements, such as handles shaped like mythical creatures and intricately pierced or waved bases and rims. Stellmacher’s work received significant recognition, notably winning the Gold Medal at the Paris World Exhibition in 1889, marking a pinnacle of his success in the late 19th century.
In 1892, the Riessner, Stellmacher & Kessel (RStK) factory began operations. The company was a family affair, with Stellmacher’s son Eduard serving as artistic director, and his son-in-laws Karl and Hans Riessner, and Rudolf Kessel, managing various aspects of the business. Paul Dachsel, Eduard’s brother-in-law and fellow artist, also contributed significantly to the creative direction of the company. The factory initially focused on producing luxury porcelain objects, quickly gaining international acclaim. Their success was cemented by receiving the highest award at the 1893 Columbian Exposition in Chicago and a Gold Medal at the San Francisco Exhibition the same year.
In response to growing demand, Amphora expanded its operations, opening a second factory in 1894 for terracotta items and a third in 1895 specializing in faience and decorated earthenware. The late 1890s saw a distinct shift towards the Art Nouveau style, with pieces featuring intricate portrayals of plants, animals, and mythical creatures. This period also saw the incorporation of Klimt- and Mucha-inspired portraits and simulated jewels, further enhancing the allure of Amphora’s creations. The factory’s pieces were celebrated worldwide, earning numerous awards and cementing Amphora’s reputation as a leader in ceramic artistry.
However, the departure of key artistic figures, Paul Dachsel and Eduard Stellmacher, in 1904 marked the beginning of a decline in the quality and innovation of Amphora’s products. Despite continued operation under the management of Alfred Stellmacher’s descendants, the factory never regained its former glory. The company continued to produce ceramics until it was nationalized by the Czechoslovakian government in 1945, a casualty of the geopolitical shifts following World War II. Many of the later mid-20th pieces are easily found and sell for comparatively little compared to the earlier pieces.
Today, Amphora Pottery is celebrated for its contributions to the Art Nouveau movement, with its early designed pieces highly sought after by collectors and museums. The legacy of Alfred Stellmacher and his family’s artistic vision endures, a testament to their craftsmanship and innovative spirit in the world of ceramics.
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