Skip to content
Advertisements

Posts from the ‘Danish Factory Potteries’ Category

Søholm Denmark, EJ64 Krukke//Crock.

This large piece is from the EJ64 series by Einar Johansen for Søholm Denmark in the 1960s. I found it recently at an auction.

The unusual form which I haven’t come across before was designed to be used as a food storage crock or cookie jar by the look of it.

Subsequently it is quite a large, heavy piece.

 

Soholm EJ64 Series Crock

Soholm EJ64 Series Crock

Read more

Advertisements

Gerd Hiort Petersen Denmark – Soholm Period

Born in 1937, Gerd Hiort Petersen became Bornholm’s first female pottery apprentice when she took up her apprenticeship at Michael Andersen pottery as a youth.

By the age of 27 her stoneware and porcelain were being exhibited in Denmark and abroad.

She worked for Royal Copenhagen from 1965-1973. While she was at Royal Copenhagen she designed many pieces, including their 1973 Annual Mug.

My interest in her work however lies in the fantastical and imaginative pieces she created at Soholm Pottery, Bornholm where she worked 1961-1962. They have quite a surrealist/ancient vibe about them with their fantastic creatures  – although these designs may be based in spirituality as Gerd is also very well known for her Church commissions.

Gerd Hiort Petersen, Soholm Urn 3330

Gerd Hiort Petersen, Soholm Urn 3330

Gerd Hiort Petersen, Soholm Urn 3330

Gerd Hiort Petersen, Soholm Urn 3330

Read more

Marianne Starck “Negro” Series, Michael Andersen & Sons (Part 2), Variations

The “Negro Series” sometimes referred to as the “Tribal” series was designed by Marianne Starck in the 1950s for Michael Andersen & Sons on the island of Bornholm, Denmark. You can read more about it in Part 1 HERE. 

In addition to the strikingly bold, black and white designs there were some variations with this series. Because there doesn’t seem to be much documentation about this series of designs –  It is hard to know sometimes if pieces were designed as part of the Negro series, or simply colour variations added later due to its popularity.

Also you will find that many of the shapes and forms used on the Negro series, were used for other designs coming out of the pottery during these mid-century years.

Henrik in Denmark, who is a passionate collector of the work of Marianne Starck has provided a number of photographs of part of his large and growing collection of Starck’s work for Michael Andersen – and in particular the large number of series which she designed during the 1950s including the “Negro” series.

Henrik has collected many pieces and variations of her designs which are very hard to find, and his collection goes to show us how prolific and original Marianne Starck was as a designer, in addition to being a skilled ceramicist.

Firstly, here are some of the less commonly seen black and white “Negro” series designs: (click on small images to bring up scrolling gallery).

Now some of the variations:

From what I can see the “Negro” variation most often seen, is the one with black and white + red ochre:  The use of red ochre as an accent colour on these designs really makes them “pop”.

 

There is also another group which may or may not have beed designed as part of the original “Negro” series. It often has the same forms and designs often found on the Negro series, but has a black body with turquoise/green glaze. My favourite is the bold design bottom left.

Then there is another design, which also seems to be a variation of the Negro series motifs, featuring a black clay body, with red ochre+chrome green with no white. Read more

Aluminia//Royal Copenhagen “Gunhild” Plate Set, Nils Thorsson

I had part of a series of the Aluminia//Royal Copenhagen fajance plates pictured below some time ago, and eventually sold them on.

Years later as often happens, I have stumbled across their designer and name. I loved the orange brown autumn tones, and the beautifully hand painted motifs of fruits and flowers.

While looking through an auction catalogue at Lauritz.com recently I stumbled upon a whole set of these fruit plates as it was originally configured, and a quick bit of research led to finding out more of their story.

The series name was apparently “Gunhild” and was designed by Nils Thorsson for Aluminia//Royal Copenhagen 1933, and in production until 1968 from what I have read.

They seem to hard to get hold of, but not that expensive if you do find them.

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

 

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Aluminia Gunhild Plate set Nils Thorsson, Aluminia – Photo Lauritz.com DK

Aluminia Gunhild Plate, Nils Thorsson, Aluminia

Backstamp

 

Nils Thorsson Løvspring, Royal Copenhagen 1943

I bought the vase below at auction some time ago, not knowing anything about the design – but it just had that quality of something special.

With help of a reader in the U.K. who had the design in another shape, it was finally identified when she wrote to Royal Copenhagen who identified the design.

“Your vase is actually very rare. So rare that it is not mentioned in the book about “Aluminia” by E. Winge Flensborg, which has a list of the known items of a small series of vases from 1943/44, named “Løvspring”, by Nils Thorsson. Aluminia was the earthenware factory run together with The Royal Copenhagen Porcelain Factory. Due to the situation under the war there was a shortage of raw materials and Thorsson sought to come up with alternative materials. This series is made from red clay. The items came with glazes in various colours: Yellow, brown, green and blue over a scrafitto-decoration.  It was a very short lived production.”

The piece is made from terracotta clay and the surface colour comes from what appears to be a clay slip brushed over the clay and then covered with a clear low fired (borax probably) glaze which is pitted with tiny air bubbles typical of low fired glazes using easily available inexpensive materials. The sgraffito design is really makes the piece. Like many early pieces of Nils Thorsson it is not signed, but stamped for 1944. The shape is number 2338 – (16x 12cm).

Since being identified, I have seen the design on odd occasions, but it remains an elusive design.

Royal Copenhagen, Nils Thorsson - Løvspring

Royal Copenhagen, Nils Thorsson – Løvspring

Read more

Lin Utzon for Rosendahl Denmark

Lin Utzon for Rosendahl Denmark

This post is about a design that is not quite 20th Century, but very close to it. Also it ticks all the right boxes for me – Danish, Blue & White, Great Designer, Superb Porcelain, First class Manufacturer.

Erik Rosendahl established Rosendahl, Copenhagen in 1984. They are one of the top manufacturers in Denmark of design for the home and table. Their list of their designers and licences is remarkable.

In 2005, to  mark the bicentenary of HANS CHRISTIAN ANDERSEN, Rosendahl launched a Hans Christian Andersen dinner service, designed by Lin Utzon to celebrate this anniversary.

The 31cm service plates from the dinner service below, designed by Lin Utzon, are inspired by six of Hans Christian Andersen’s best-known fairy tales: The Little Mermaid, The Ugly Duckling, The Snow Queen, The Butterfly, Thumbelina and The Nightingale. The motifs are white and stand out brilliantly against the deepest of cobalt blues – a combination that hallmarks many of Lin Utzon’s creations. This dinner service won the prestigious Germany design prize DESIGN PLUS 2004.

Lin Utzon, Rosendahl, Hans Christian Andersen Dinner Service

Lin Utzon, Rosendahl, Hans Christian Andersen Dinner Service – The Ugly Duckling/Swan

Read more

Knud Kyhn

Knud  Kyhn  1880-1969

Knud Khyn was a an accomplished Danish painter, draughtsman and ceramic sculptor. My interest in his work lies in his evocative, superbly modelled ceramics.

He worked at Royal Copenhagen over several periods –  c1903-1910, c1924-1932 and c1936-1967.

He also worked at Herman Kähler’s Pottery c1920-1924 and also at Bing & Grondahl 1908-1915 and 1933-1935.

His animal figurines capture so so well the mass and expression of his subjects, in addition to capturing the essence of their characters, how they move, and how they play. Many of these figurines use a glaze popular at Royal Copenhagen during this era – an iron rich “Sung” glaze – (fired in the kiln once only)

The figurines I come across most often are the “3 bears” by Knud, which come in several sizes. Going by the number of them that come up for sale still on the secondary market they seem to have been the most popular.  There is so much more Knud Kyhn work to discover though, and pictured below are some examples.

Pieces like the Royal Copenhagen studio pottery bowl with the blue hand-painted bull motif below, are much rarer and harder to find – as are some of the “production” stoneware pieces like the “Mare and Foal” Royal Copenhagen bowl.

Together with his wife Julie Bloch Kyhn, Knud also operated a studio from their home in Farum from 1934. Pottery from this studio is usually marked FK for Farum Keramik .

This studio in 1993 was apparently opened to the public but from what I can gather, it was later donated by Bodil Kyhn (Knud’s Daughter) to the Farum Municipality which later sold the house, and the works were donated to the Næstved Museum. Kyhn’s work is also widely represented in major galleries around the world.

You can read Knud Kyhn’s full biography on Weilbach’s datatbase here  

Knud Kyhn, Royal Copenhagen, Elephant Figurine

Knud Kyhn, Royal Copenhagen, Elephant Figurine

Knud Kyhn, Royal Copenhagen, Elephant Figurine

Knud Kyhn, Royal Copenhagen, Elephant Figurine

Knud Kyhn, Mare & Foal Bowl, Royal Copenhagen

Knud Kyhn, Mare & Foal Bowl, Royal Copenhagen

Knud Kyhn, Mare & Foal Bowl, Royal Copenhagen

Knud Kyhn, Mare & Foal Bowl, Royal Copenhagen Base Shot

Knud Kyhn, Royal Copenhagen Studio Bowl

Knud Kyhn, Royal Copenhagen Studio Bowl

Knud Kyhn, Royal Copenhagen Studio Bowl

Knud Kyhn, Royal Copenhagen Studio Bowl

Read more

Marianne Starck “Negro” Series, Michael Andersen & Sons (Part 1)

Marianne Starck 1931 – 2007 worked at Michael Andersen & Sons, Bornholm as the Artistic Director from 1955 to its closure in 1993. During these decades her output of designs was vast – but isn’t well catalogued. Every year I  continue to find designs by her which I haven’t come across previously.

Marianne originally come from Germany where she undertook an apprenticeship at the Thoms pottery in northern Germany, and later studied graphic design in Germany at Landeskunstschule (University of Fine Arts, Hamburg).  Her most successful designs at Michael Andersen & Sons often have very strong graphic elements as part of the design – reflecting her training in this field.

One of her most striking and now most coveted and popular series of designs was for the 1950s “Negro” series. This series features white motifs carved through to black clay – the form would have been slip cast first and then finished and carved by hand and you can usually see the carve marks in the black clay.

The motifs in this series vary from abstract forms, to stylised plants, animals and human forms to simple repeat patterns. Usually the glaze is a bright white, but there are also pieces which have a white glaze speckled with oatmeal colour.

There are also some variations on this series which I will show in a future post.

Below are some of the designs I have had, which are just a fraction of the forms from this very large and popular series:

Michael Andersen Denmark, Marianne Starck Negro Series

 

Michael Andersen Denmark, Marianne Starck Negro Series

Michael Andersen Denmark, Marianne Starck Negro Series

Michael Andersen Denmark, Marianne Starck Negro Series

Michael Andersen Denmark, Marianne Starck Negro Series

Read more