1998, at Sanssouci Palace a taboo in historical preservation was broken. After more than a hundred years, the Marble Hall of Frederick the Great’s summer residence once again became the scene of a festive
Gallery, set up as his private apartments. He used the Frederician interiors as a rest area in the years that followed. The Prussian State Council only convened six times; its final meeting was held in 1936
century silk fabric samples. The diverse collections of the KPM Archives bear testimony to over 150 years of royal porcelain commissions in Prussia. Its historical and cultural significance is on a par with
testify to Frederick II’s fondness for this fragile material. During the Silesian Wars and Seven Years’ War, the king not only used his military presence in Meissen to place large orders with the local
sculpture. In Rome in 1810, the sculptor Christian Daniel Rauch (1777-1857) sculpted a portrait of the ten year old daughter of the von Humboldt couple as seated mythological figure ( Adelheid von Humboldt as Psyche
furnishings were acquired either by the King himself or the Countess Lichtenau, his mistress for many years. Among these are Ancient sculptures, valuable items of furniture, paintings – some by Angelika Kauffmann
palaces, as in the case of Paretz Palace, where the wallpapers were reapplied and restored after years of storage, or the conservation of prints, such as at those at Charlottenhof Palace, also fall within
saw the heir to his sculptural legacy, which he documented in a characterful portrait bust of the 18 year old. (8) He encouraged Ridolfo to send his works in marble to Berlin. Potential clients could view
father Frederick William III to use the slopes of Babelsberg for a stately home and park. Before the year was out, Peter Joseph Lenné had produced preliminary drawings for the park, and Karl Friedrich Schinkel
have been so supportive of the Prussian Palace and Gardens Foundation Berlin-Brandenburg over the years. Freunde der Preußischen Schlösser und Gärten e.V. The SPSG is very thankful to its association of
Here, the God of Love, Cupid (11) gazes at three earthly maidens aged between roughly 12 and 18 years old. While the youngest is tying her sandals (12), the next oldest is letting a spindle run down (13)
"This is not only hi(s)story. This is OUR STORY". In the special exhibition, which is a part of this year’s theme "Elector – Emperor – Colonies," the SPSG is undertaking a survey of colonial references in
