GEORG JENSEN EXHIBITION

Enjoy our latest exhibition featuring the sophisticated workmanship of Georg Jensen. Included are excellent examples of some of the top designs, from chandeliers to tableware, jewellery, and tazzas in several sizes.

Born in 1866, Georg Jensen apprenticed as a knife grinder with his father before pursuing a career in sculpting. He studied at the Danish Royal Academy, graduating at the age of 25 and exhibiting at the Charlottenborg Exhibition in 1883. Turning his attention to the applied arts, he worked as a modeler at the Bing & Grøndahl porcelain factory and founded a small pottery workshop with a friend in 1898. He was awarded a travel grant by the Danish Academy and spent two years touring the art centers of France and Italy which exposed him to the Art Nouveau movement. This greatly influenced his work and developed his ambition to fuse beauty and function into his creations. In 1904, Jensen opened his own small silversmithy in Copenhagen. The same year, he exhibited his silverwork for the first time at the Museum of Decorative Art in Copenhagen - the exhibition was an immediate success and helped launch his business. Producing primarily jewellery in the early years, Jensen’s intention was to create affordable art for the middle classes while emphasizing the value of handmade craftsmanship over mass-produced goods. 

Jensen’s identity evolved with the collaboration of innovative designers who responded to new technologies, materials, social practices and consumer tastes. Together with Christian Mohl Hansen they produced the dove brooch which became a motif in many of Jensen’s jewellery pieces and endures to this day. Jensen began creating hollowware, and in 1905 began what was to become one of his most important alliances with Johan Rohde (1856-1935). Rohde’s approach to design was cautious and methodical which complimented Jensen’s more romantic and impulsive approach. In 1916, Rohde designed the most famous of Jensen’s flatware patterns, Acorn. Jensen also collaborated with the talents of Henning Koppel, Sigvard Bernadotte, Mathias Gerhard "Tias" Eckhoff and Oscar Gundlach-Pedersen, and his brother in law Harald Nielsen. Nielsen’s designs were almost indistinguishable from that of Jensen’s own style.

Jensen’s workshop gained a reputation for having a friendly, democratic atmosphere that was conducive to collaboration, with a feeling of solidarity among the staff. Sales steadily grew and often pieces would sell out. The Georg Jensen line continued to expand throughout Europe and worldwide. Jensen’s reputation in the US was propelled by his solo exhibition at the Art Institute of Chicago in 1921, which was accompanied by an English language book. This led to the opening of a retail shop, and the American market loved his sophisticated, simple yet decorative pieces so much that they were in great demand. The company continued to thrive and by the end of the 1920s, Jensen had retail outlets in New York, London, Paris, Stockholm, and Berlin. The success of the business life was unfortunately overshadowed by the deaths of three of Jensen’s four wives in 1892, 1897 and the third from Spanish Influenza in 1918. The last decade of Jensen’s life was lined with professional accolades, although he grew increasingly alienated from the firm. He was awarded the Grand Prix at the Paris World’s Fair in 1925, the 1929 World’s Fair in Barcelona, and again in 1935 at the World’s Fair in Brussels. He was the only silversmith outside Great Britain to exhibit at the Goldsmith’s Hall in 1932. Georg Jensen passed away in 1935 at the age of 69.  

Reinventing itself after the rationing of the second world war, the firm developed homewares redesigned for the modern era. Scandinavian Modern décor continued to be promoted throughout Europe and North America. The firm continues today with the same tradition of innovation, design and unparalleled craftsmanship which is still relevant.

HARALD NIELSEN

Harald Nielsen (1992-1977) was Georg Jensen’s closest colleague and leading designer. His silver designs define classic Scandinavian style with ageless elegance that transcends time. The younger brother of Georg Jensen’s third wife, Harald Nielsen was drawn into the Georg Jensen silversmithy at the age of 17. He worked his way up to designer of the smithy school of apprentices, becoming director in 1954. His role was particularly important after Georg Jensen died in 1935 as Nielsen insured the continued high quality of the firm’s design by recruiting and training young designers according to Georg Jensen standards. He became artistic director of the company in 1958, a position he held until his retirement in 1962.

1. Sterling silver comport design 285A, designed by Georg Jensen, bears impressed hallmarks to underside 925S Denmark Sterling with Georg Jensen hallmark date 1933-44 and for Georg Jensen design 285A, inscribed "L.S.K.-E.B.K. 27-6 1943". Size: 4 h x 5 w x 3 ½ d in. ZC20671

2. Sterling silver heart brooch with dolphins and shell, 312, bears impressed hallmarks to back Sterling Denmark, with Georg Jensen hallmark date post 1945 and for Georg Jensen design 312. Size: 1 ½ h x 1 ¾ w in. C20690 SOLD

3. Sterling silver necklace with heart pendant on link chain, No 126 designed by Astrid Fog in the 1970's, with impressed marks "Georg Jensen 925s Denmark 126", post 1945, weight: 101 grams. Size: pendant 2 1/2 x 2 1/2 in; length with chain 18 in. C20574

4. Sterling silver brooch 20, bears impressed hallmarks to underside 925 Sterling Denmark Georg Jensen, with Georg Jensen hallmark date 1933-44 and for Georg Jensen design 20, inscribed "L.S.K.-E.B.K. 28-7 1940". Size: 1 ¾ h x 1 ¾ w in. C20689 SOLD

5. Pair of sterling silver salt and pepper in the Cactus pattern, designed by Gundolph Albertus (1887-1970). Impressed hallmark to each for Georg Jensen design no. 629B, maker's mark for Gundolph Albertus, both dated 1945-77. Size: 2 1/8 h x 3/4 d. C20562

6. Pair of sterling silver salt and pepper in the Bernadotte pattern, designed by Sigvard Bernadotte (1907-2002). Impressed hallmark to each for Georg Jensen design no. 902, maker's mark for Sigvard Bernadotte, both dated 1945-77. Size 2" x 1" diameter. C20558

7. Set of 133 piece Cypress pattern sterling silver flatware, designed for Georg Jensen in 1953 by famed Norwegian designer Mathias Gerhard "Tias" Eckhoff. C19554

POUL PETERSEN

Carl Poul Petersen (1895-1977) was born in 1895 and apprenticed with Georg Jensen for five years from when he was 13 years old. He became a Master Silversmith and married Jensen's daughter Inger in 1922. They moved to Montreal in 1929 and in 1932 he worked for Birks & Son as their Master goldsmith. Petersen worked on his own from 1937 to 1939, returned to Birks from 1939 until 1944, and resumed his store which was in operation until 1975. Petersen died in 1977. 

Petersen was the primary silversmith to the Bronfman Family who were the richest family in Canada at the time. He worked with elite Canadian and American clients with specialty orders and crafted jewellery, 11 different flatware designs, tea sets, serving pieces, bar sets, and a line of Judaica. His work is highly collected in Canada and he is responsible for the current Stanley Cup which he was commissioned to redesign in 1962. His work closely resembles Georg Jensen's work from 1912 to 1923.

GLOBAL INFLUENCES

The global influence of Georg Jensen and Scandinavian Design, characterized by simplicity and functional minimalism, flourished in the mid-20th century and continues to be a major inspiration to this day. Embracing Art Nouveau lines, the movement is characterized by simplicity and functional minimalism. We see examples of this influence around the world, including works here from Canada, the US and Mexico. 

For a brief period during World War II the Georg Jensen stores in the USA were unable to get stock from Denmark. To meet demand the American director, Frederik Lunning, authorized production of designs and copies made in the USA, marked GEORG JENSEN INC. U.S.A. Moving to a prestigious new location on Fifth Avenue in New York City, the firm expanded its decorative wares to include jewellery and household items, and hired designers such as La Paglia and JoPol who produced works in the Jensen manner. After the war these new American designs were still in production and the George Jensen parent company in Denmark sued as the Copenhagen home office was not consulted in the designs. Today these American pieces are collectable in their own right, as many pieces were designed by American designers and only sold for a brief period.

1. Danish sterling silver pitcher with pear shaped body and integrated handle, designed by Kay Fisker (1893-1965) and produced by A. Michelsen, with a 1 Liter capacity, marked with year stamp L9 for 1962. Literature: Malene Dybbøl and Sabrina Ulrich Vinther. 'Hofjuveler A. Michelsen', reproduced on p. 105: 'The beak jug is one of the body pieces from Kay Fisker's hand, which has become a classic in modern Danish silver'. Size: 9 ½ h x 6 w x 4 ½ d in. C19990

2. Pair of four armed Danish silver candelabra, 1930 of KC Hermann of Copenhagen (1893-1937) each with four-arms, marked with KCH, three-tower silver purity mark and 1930. Size: 8 h x 10 w x 10 d in. C19997

3. Large round Danish Art Deco silver bowl with flat lined rim, stamped with Copenhagen three tower mark (.830) and dated 1937, and assayer's mark for Johannes Stittgard (1832-1960), inscribed "Lis og David Ker 18-6-1960 Mormor." Small dent in bowl. Size: 12.5 h x 12.5 w x 2.5 d in. C20353

4. Georg Jensen USA sterling silver table lighter having a leaf and bead three dimensional design. Underside with impressed "GEORG JENSEN INC. U.S.A. L.P. STERLING 119". Size: 3.25 h x 2.25 w x 2.25 d in. C19455

5. Stunning large sterling silver centerpiece bowl designed by Alphonse La Paglia for International Sterling in the late 1940's or early 1950's, stamped with design #139 35-1 Size: 6 x 10 ⅛ in. C19555

6. Sterling silver comport in the Georg Jensen style with grapevine pattern, twist column and grape details, with impressed marks for sterling and Taxco eagle, "Hecho en Mexico", and "B" possibly for maker Bernice Godspeed, Taxco, weight approximately 24 oz.
   Size: 7.5 h x 8 w x 8 d in. C20566

Further reading: read our History & Global Influence of Scandinavian Design Insights post to learn more about the Danish Design Movement