"Oeslau, Germany - Re-Named Rodental" Oeslau by al_mary

Oeslau Travel Guide: 0 reviews and 3 photos

Home Of W.Goebel Porzellanfabrik

The year was 1871, the place Thuringia, a region of Germany long
noted for exquisite porcelain. In the ancient town of Oeslau, Franz Detleff
Goebel and his son, William, were founding a firm. Franz Detleff Goebel
was a porcelain merchant with an ambition to own his own operation.

At first, Franz and William Goebel made slate pencils and children's
marbles, since they lacked the money and means to produce porcelain.
What's more, the Coburg Duke, fearing fires, refused to allow a porcelain
operation in town.

Franz Detleff Goebel

But Franz Detleff was determined to produce porcelain in Oeslau.
He had wisely selected the spot for its plentiful labor, access to rich clay
deposits, and the running waters of the River Roeden. Oeslau was later
renamed Rödental after its lifeblood, the river. After a few years, armed
with profits from the slate and marble business, Franz Detleff urgently
petitioned the Duke. He was given a tract of land on the outskirts of town
and permission to build his porcelain works.

William Goebel

In 1876, the first building was erected. In 1879, the Goebels fired up their
first kiln. In the early days, the firm produced mostly fancy dinnerware and
figurines. But as Franz Detleff grew older, he deferred to his son, who had
an eye for spotting trends.

William expanded the product line and changed the company name to
W.Goebel Porzellanfabrik. William was convinced of the importance of the
American market. Determined to tap the trends overseas and develop a
U.S. product line, he sent his 16-year-old son, Max Louis, to America.

The dynamic young man earned his own way in America, working with
Marshall Field and other big U.S. firms. By 1911 Max Louis Goebel was
back in Oeslau armed with business know-how and ready to launch
W. Goebel Porzellanfabrik into the 20th century.

THE FIGURINES THAT CHANGED GOEBEL HISTORY

In 1934, Franz Goebel was searching for something new. Like his
predecessors at the helm of W.Goebel Porzellanfabrik, Franz understood
his market. He believed that in a world of political turmoil, customers would
respond to a product depicting the gentle innocence of children.

The artwork of a Franciscan Sister, Maria Innocentia Hummel, a gifted,
academy-trained artist, came to Franz's attention. Her drawings of country
children had been printed as art cards and were becoming quite popular.

An enthusiastic Franz, with the approval of senior sculptors Arthur Moeller
and Reinhold Unger, decided to pursue the creation of figurines based on
the artwork of Sister M.I.Hummel.

Arthur Moeller

The artist was contacted at her home, the Convent of Siessen, and shown
clay models. With assurances that she would personally approve the
sculpting and painting of each piece...that a facsimile of her signature
would appear on each piece...and that Franz Goebel himself would oversee
the production process, Sister Hummel and the Convent of Siessen
granted sole rights to Goebel to create ceramic figurines based on her
original artwork. A new palette of warm colors was created to duplicate the
tone and feeling of the artwork. It was determined that earthenware,
pioneered by Goebel in the 1920's, was the proper medium for the new
line. Moeller and Unger became the "fathers" of M.I.Hummel figurines,
their work based on friendly and frank cooperation with Sister Hummel.

Reinhold Unger

The new product line was launched in March, 1935, at the Leipzig Spring
Fair, a major show for the industry. The reception to the first M.I.Hummel
motifs was enthusiastic. The line was an immediate success.

When World War II began, the German government allowed M.I.Hummel
figurines to be made for export only and directed Goebel to produce
dinnerware for the military. Despite hardships, the Goebel family maintained
their relationship with Sister Hummel, and some new figurines were
modeled and approved. The artist's fragile health suffered during the war
years, when fuel was scarce and she was forced to work in a cold,
unheated space ......

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A Tragic Passing

The Merry Wanderer

A TRAGIC PASSING

In 1946, following a prolonged respiratory illness
eventually diagnosed as tuberculosis, Sister M.I.
Hummel died at age 37. Despite this tragedy, the
production of her beloved figurines never ceased.

Sister Hummel was a prolific artist and left behind
a treasure-trove of drawings on which to base new
figurines. The Convent of Siessen appointed an
Artistic Board to carry out the legacy of Sister Hummel.

All clay models and painted figurines would be
approved by this board. And so they are, to this day.

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NEW TASTES - NEW TARGETS

Max Louis took charge of the family firm after his
father's death. At the dawn of the 20th century,
Europe was becoming more urban and industrial.
Goebel was determined to appeal to the taste and
income of a new working class. Max Louis attracted
some of Europe's finest sculptors to Goebel's
studios. He established relationships with
contemporary artists, using popular artwork as
the basis of decorative figurines.

In the aftermath of World War I, alarming inflation
forced many German companies to close.

But W. Goebel Porzellanfabrik survived and never
stopped innovating. In 1926, fine-grained earthenware
was added to the Goebel repertoire. This versatile new
material enhanced the firm's product line. And the stage
was set for the development of M.I.Hummel figurines,
just on the horizon.

The year 1929 rocked W. Goebel Porzellanfabrik to its
foundations. First came the death of Max Louis Goebel,
after 18 years as the head of the firm. Then came the
crash of the American stock market.

The passing of Max Louis marked the end of an
innovative era. But luckily, two able businessmen
were waiting in the wings. The torch was passed
to Max Louis' son and son-in-law, Franz Goebel
and Dr. Eugen Stocke.

With the stock market crash, the world plunged into
economic crisis, and with it plunged Germany, already
crippled by rampant inflation. Goebel attempted to
maintain business as usual. But now more than ever,
survival depended upon innovation.

In 1931, Goebel's product line included vases, ashtrays,
lamps, candle holders, bookends, and of course, figurines.

Click On Photo To Enlarge

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Growth & Expansion

A NEW GENERATION

During the postwar years, Goebel enjoyed remarkable
expansion and evolution. The factory was modernized,
kilns updated, techniques improved.

But traditional handcrafting and handpainting was
strictly maintained. In 1969, Franz Goebel passed
away. His son, Wilhelm Goebel, inherited the
leadership of the firm, sharing it with Eugen and
Ulrich Stocke. The firm was, and still is, in its sixth
generation of family management.

Innovations and development continued. When Goebel
issued its first annual M.I.Hummel plate in 1971,
plates quickly became prized collectibles.

M.I.Hummel children were now the world's most beloved
figurines. To respond to the enthusiasm of collectors,
Goebel introduced another innovation, the first collector's
club. The Goebel Collector's Club was founded in 1977.

By 1989, the Club had expanded internationally and the
name was changed to the M.I. Hummel Club®.

In 1996, as Goebel celebrated its 125th anniversary,
the future looks bright. The Goebel Group consists of
seven firms and employs some 1,800 people worldwide.

Goebel's quality craftsmanship has earned the admiration
of millions. And the Goebel tradition of artistry and excellence
will continue well into the next millennium ......

Click On Photo To Enlarge

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