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Posts from the ‘Danish Factory Potteries’ Category

Joghus Denmark

Joghus Denmark

Joghus was a pottery on the island of Potteries – Bornholm, Denmark. I was very excited to recently find that in the archives of the city of Roenne, Bornholm are several pages and photo archives of Joghus Pottery.

Johgus was in operation from 1944 to 1999. It was founded by Johannes Pedersen who had been working at Hjorth Pottery, who joined forces with Gustav Ottesen to create Joghus. The pottery produced a wide range of items, mainly in slipcast stoneware. 

The tourist market, figurines, business merchandising, domestic wares and Christmas plates were all important parts of their production.

You can read more about the history of this pottery on the archives of the city of Roenne HERE

I was also very interested to find that in these archives are a number of photos from Joghus catalogues of various series of production from 1944-1999. It is not the entire catalogue of course – but gives a good indication of the style and look of Joghus Pottery over time.

One series which stood out to me is the one I have most often seen from Joghus – which I now have a name for. It is called “Ratonga” and features an ancient or tribal looking motif which was used on a variety of forms with a matte grey green glaze.

There are also photographs of several very attractive, modernist series from the 1950s and 1960s which I have never seen before, but am now keen to get hold of having seen the catalogue photos!  – see last 2 images.

Joghus Denmark, Ratonga

Joghus Denmark, Ratonga

Joghus Denmark, Ratonga

Joghus Denmark, Ratonga Ashtray

Joghus Denmark, Ratonga

Joghus Denmark, Ratonga Jar/Canister – would have had a lid originally

Joghus Denmark, Ratonga

Joghus Denmark, Ratonga base shot. Most pieces of Joghus appear to have this stamp and a number.

 

Joghus "Ratonga"

“Ratonga” Johgus, photo Bjarne Ilsted Bech, Roenne City Archives.

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Lillerød Pottery, Denmark

Lillerød Pottery in Denmark had a long history from 1893 to 1995, but its history is not widely documented. Its story is an example of what I often come across when researching pottery – whereby one potter or pottery becomes well known and well documented, and others simply fade into history for no apparent reason other than coincidence.

Lillerød Lervarefabrik was established in 1893 by J.P.Hansen who built up a thriving pottery with a strong export business. In 1954 it was taken over by Einar Petersen who ran it until its final closure c1995. The output consisted mainly of domestic wares such as jugs, bowls, plates etc – hand painted with simple and attractive designs which reflected their time.

In the early history of the pottery there was an association with local artists, and an important but lesser known Potter and Artist Karl Schrøder is believed to have worked with Lillerød Pottery- or at least use it’s facilities around 1901, and you can read an interesting story about Karl Schrøder in the Allerød local history archives HERE

The youtube video below also gives a good idea of the style and range of work from the early 20th Century right up until its closure. The pottery re-openend briefly after its closure in 1995, but finally closed with a final exhibition in 2006 when this video was made.

Pottery with the stamp “Lillerød” was made from 1955, but before that date I haven’t found what mark, if any were made on the base.

The stoneware “Matenity” Jar in the first image is a traditional Danish form which in earlier times was used to take cooked food to Women who had recently given birth. The form has endured, and is still made by some potteries.

Lillerod Pottery Denmark, "Maternity" Jar

Lillerød Pottery Denmark, “Maternity” Jar

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Anne Marie Trolle – Royal Copenhagen

Anne Marie Trolle, Royal Copenhagen

Anne Marie Trolle (b1944- ) was one of the designers under the direction of Nils Thorsson in the group who created the now iconic Baca and Tenera series.

She also produced some very impressive designs for Royal Copenhagen in the 1970s and 1980s.

2 of Anne Marie’s designs which really stand out from the crowd to me are “Floreana” and “Indigo”.

My favourite is the Tea Caddy, from the Floreana series in 1982.

Royal Copenhagen Floreana Tea Caddy

Royal Copenhagen Floreana Tea Caddy

Royal Copenhagen Floreana Tea Caddy

Royal Copenhagen Floreana Tea Caddy

Part of a series of repeated shapes produced in a choice of patterns based on leaves and spotted fruits. Trolle recorded that this was inspired by a study trip to the Galapagos Islands, the decoration – and to some extent the shapes – reflect Danish artists’ traditional and instinctive response to oriental influences.
http://collections.vam.ac.uk/item/O168193/floreana-tea-caddy-and-trolle-anne-marie

But it is hard to go past “Indigo” for its clean Scandinavian forms and striking deep cobalt blue graphics. It was designed in 1975 by Anne Marie and was in production until 1985. Read more

Richard Manz, Denmark

Richard Manz, Denmark

Richard Manz (1933-1999), husband of Danish ceramicist icon Bodil Manz.

In earlier years Richard worked in Sweden, and even at Gustavsberg for a time. He also studied under Peter Voulkos at Berkeley University of California with his wife Bodil in the late 1960s.

In 1967 he started a studio with his wife Bodil in Starreklinte, Odsherred. They produced several joint works including murals and large sculptural pieces in addition to developing their individual styles. During this period Richard also produced work for Knabstrup pottery in Denmark. You can see some of them on this page

In the mid 1970s they both lived in the town of Arita, Japan for a while – learning the skill of working with very fine translucent porcelain.

The first piece below is one I bought at auction some time ago. I think demonstrates Richard’s mastery of the cylindrical form, for which he (and Bodil) have become so well known for.

While it is a stoneware piece, it is beautifully thin and fine and has been fired to the upper limit for stoneware (around 1300c) making it very hard (and giving it a beautiful sound if you “ping” it) .

The piece displays an obvious mastery of form and the beautifully controlled textures and glazes. I am guessing it would be from the early 1970s.

Richard Manz Denmark

Richard Manz Denmark

Richard Manz Denmark

Richard Manz for Knabstrup, Denmark

Richard Manz for Knabstrup, Denmark

Richard Manz for Knabstrup, Denmark

Richard Manz for Knabstrup, Denmark

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P. Ipsens Enke Denmark, Dekorativglasur

P. Ipsens Enke Denmark, Dekorativglasur  

Below are 2 pieces of P. Ipsen’s Enke Pottery I purchased some time ago. Until I saw these pieces in person, I thought this style was far too garish and brightly coloured.

However in real life the colours are more subtle and elegant, and the quality of the pieces (even though slipcast) really comes through. My favourites in this style are the multi handled vases like the one pictured with its sweeping Art Nouveau curves and styling.

This glaze colour and style is known as “Dekorativglasur” (Decorative Glaze) and is the style that this Danish Pottery is probably most recognised by.

P. Ipsens Enke Denmark

Ipsen’s Pottery established in 1843 by potter Rasmus Peter Ipsen (1815-60) from Bornholm. Peter died early and his widow Louise Ipsen continued what her husband had started – and the factory became known as Ipsens Enke (Ipsen’s Widow). Their eldest son Bertel Ipsen (1846-1917) who also became a potter took over the running of the pottery in 1865.

Bertel Ipsen is the one who developed this blended and brightly coloured matte glaze referred to as “Dekorativglasur “ around 1910. It became hugely popular, and continues to be popular to this day amongst collectors – although it seems to be better known outside of Denmark these days.

Many iconic Danish potters and designers started off or worked for periods at Ipsen’s, including Axel Salto, Axel Sorensen, Georg Jensen, Just Andersen, Bode Willumsen, Arne Bang, Johannes Hedegaard just to name a few. Read more

Royal Copenhagen, Bing Grondahl “Plaquettes” – Mini Wall Plates 1960s

Royal Copenhagen, Bing Grondahl “Plaquettes” – Mini Wall Plates 1960s

I wasn’t getting far finding out much about the origin of these small midcentury Danish wall plates until I found a comprehensive entry on Wikipedia where there is the very informative entry below.

The secret in finding a link to relevant information on the web was apparently to use the word “plaquette” instead of “mini-plate”, “commemorative plate” or “royal Copenhagen plate” etc.

“Royal Copenhagen  no. 2010 plaquettes are a series of small, collectable plates produced by Danish factories, Aluminia and Royal Copenhagen. The numbered and named series of 80mm faience miniplates or “plaquettes” are generally round, though a few are square. The most common colours are moderate to deep blue on a white background, though some have additional colours.

On the front, each has a scene depicting boats, landscapes, people, animals, steeples, buildings, statues, bridges, windmills, and more. Some also have a date on the outside edge. A variety of artists have provided the detailed artwork, including Kai Lange, Jørgen Nielsen, and Sven Vestergaard

On the back, each plaquette has two pierced holes so the plaquettes can be hung for display. In addition to the number 2010, most (though not all) have an identification number, along with a description (usually in Danish, all capital letters) of the front scene. Some have the words “ROYAL COPENHAGEN DENMARK FAJENCE”, or just ‘DENMARK”. Some have the factory mark, three wavy lines one atop another. Some have a monogram. Some have the Royal Copenhagen modified beehive mark: a capital “A” representing the Aluminia factory with three wavy lines, representing Royal Copenhagen, as cross strokes. All plates manufactured after 1969 have a crown and the words “Royal Copenhagen Denmark”.

Earl Nelson Newman wrote and privately printed a small hard-cover book in 1973 entitled “The Danish Royal Copenhagen Plaquettes: 2010 Series”. This book contains pictures and descriptions of plates #1-#85, and the special series featuring American Presidents, zoo animals, and antique autos.

Because there was nearly no information/literature about the “2010” Series, Carsten Pedersen (a collector himself) wrote a collector’s catalogue.. The catalogue describes about 448 miniplates (plaquettes) from the “2010” series and other series (old and new) from Royal Copenhagen, Aluminia, Köbenhavns Fajancefabrik and Bing & Gröndahl, Copenhagen. The catalogue was privately printed and entitled “Royal Copenhagen, Aluminia, Bing & Gröndahl – Plaquetten-Miniplates Series 2010 and special editions”

 

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Bing & Grondahl “Tivoli”

Bing & Grondahl “Tivoli”

This very smart design from Bing & Grondahl is called “Tivoli”, and was designed by Martin Hunt c1970s.

Martin Hunt, Co-Designer of the award winning Hornsea Lancaster Vitramic and a huge number of other Hornsea designs  – also designed several dinnerware series for Bing and Grondahl and Rosenthal. The Bing & Grondahl designs  include Tivoli, Korinth and Cumulus (decoration by Carl Harry-Stalhane) .

The same forms Martin Hunt designed for Tivoli were also used on the series Delphi, Olympia,  Sahara, Troja, Corinth, Marrakech and Casablanca. All of these designs are now quite hard to get hold of. 

If you want to see more Martin Hunt designs go to the V&A collections online here for Martin. They have a very large collection of his designs from the 1970s until current day, including some of the B&G designs mentioned above.

 

Bing & Grondahl Tivoli, Martin Hunt Read more

L. Hjorth Denmark Urn

L Hjorth Denmark Urn

This beautiful handmade stoneware vase is from L. Hjorth, Bornholm, Denmark. I love the colour and texture of the glaze, in addition to the form and level of craftsmanship the piece displays.

The glaze indicates a studio piece from the 1960’s or 1970’s with its blue mottled appearance. It was a glaze which was very popular in this era with many manufacturers and potters.

The urn is stamped only with the L.Hjorth stamp, and does not have the reindeer mark – the lack of which would normally indicate that this was produced pre 1927 – but there are exceptions to this rule, and you can find pieces made in the 1960s and 1970s which have no reindeer stamp.

Looking through the old Hjorth catalogues online however, I think I have found the series this piece was copied from in the 1916 catalogue, the title of which translates as “copies of Bornholm excavations”. Copies from which era I’m not sure, as Bornholm has been occupied since pre-historic times by several races/tribes of peoples. The form of this piece has a very Roman Empire look to it though.

Apparently the original pieces made in 1916 as copies of the Bornholm excavations had little in the way of glaze or decoration either – and were a reddish brown, or natural clay colour.

Whatever the story – A fascinating link to history through a beautifully made piece of early 20th Century pottery. The beauty of Danish pottery never ceases to astound me.

L. Hjorth Denmark Read more