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Posts from the ‘Royal Copenhagen’ Category

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

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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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Nils Thorsson, Royal Copenhagen Pattern 719

Nils Thorsson, Royal Copenhagen Pattern 719

Design or Pattern number 719 by Nils Thorsson for Royal Copenhagen/Aluminia is one of the most recognised and popular designs from the BACA series in the 1960s.

The design is such a beautifully complex mixture of subtle colours, line patterns and textures – and the design contains elements which don’t reveal themselves immediately to the viewer.

On most pieces the design consists of outlined or framed elements joined together with lines and repeat patterns. Inside the framed components are designs of fish – sometimes a repeat pattern, sometimes a single fish.

Other elements appear to be floral – or perhaps they are seaweed or other aquatic flora. The more you study one of these pieces, the more the design reveals itself to you.

In addition to the design, the complex nature of the glazes which Nils developed for the BACA series, means that each piece turned out slightly different when fired in the kiln – adding to the “handmade” appearance of each piece.

 

Nils Thorsson, Royal Copenhagen Pattern 719

Nils Thorsson, Royal Copenhagen Pattern 719

Nils Thorsson, Royal Copenhagen Pattern 719

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Ellen Malmer, Royal Copenhagen Pattern 627

I recently discovered a design by Ellen Malmer for the BACA series at Royal Copenhagen I haven’t come across previously.

I have written about the designs by Ellen Malmer previously HERE, and the story of the BACA series HERE if you are unfamiliar with either.

This simple and bold pattern is number 627, and it is placed onto form 3587 – a wide flat bowl in this case.

I love the bold simplicity of this design, and the contrast of the white background, dark brown outline and orange peel texture of the caramel coloured main design. To me it appears to be a simplified design of apples or pears cut in half, and repeated around the form.

I haven’t been able to find any other forms where this pattern has been used, but if you know of any I would love to hear from you.

Ellen Malmer 627, Royal Copenhagen Read more

Royal Copenhagen Fredensborg 937

Royal Copenhagen 937

Royal Copenhagen Fredendsborg (design no. 937) is a beautiful plain cream coloured porcelain design, with a luxurious gold trim.

It is a design by Thorkild Ohlsen who designed the famous Fensmark and Quaking Grass Designs I have posted about previously.

The pieces in this are the same shape and size and colour as Fensmark and Quaking Grass, but it always amazes me how a change of colour and pattern (or in this case no pattern) can transform a form.

The glaze on this series (937) has a luxurious clotted cream colour, with an equally luxuriant gold trim on the pieces.

Simple, elegant and timeless.

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg

Royal Copenhagen, Design 937, Fredensborg Stamp

Royal Copenhagen, Design 937, Fredensborg Stamp on shape 9481

Royal Copenhagen “Annette”

Royal Copenhagen Annette

This stunning and now quite rare pattern was designed by Berte Jessen in the 1960’s for Aluminia//Royal Copenhagen. It is a hard design to find, and if you are a lover of mid 20th Century design, well worth grabbing hold of if you come across it.

It has to be one of the most beautiful designs I have come across by Berte. It consists of a simple daisy motif medallion either by itself or repeated around the form. The blue glaze is wonderfully textured and has blue hues which vary from aquamarine to a deep cobalt blue with an overall hint of violet. I love the texture and depth of colour she manages to get in her designs, combined with preciseness and flair.

The pattern is called “Annette” and each piece has slight variations in colour and texture, accentuating the handmade feel of the wares.

It is so beautiful to the touch as well. It is from the very important “Tenera” series I have written about previously.

Royal Copenhagen Annette

Royal Copenhagen Annette Tea Cup, Saucer, Plate

Royal Copenhagen Annette

Royal Copenhagen Annette (plate)

Royal Copenhagen Annette

Royal Copenhagen Annette (saucer)

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Aluminia Morgenfrue

Aluminia Royal Copenhagen Morgenfrue/Calendula

This pattern is called Calendula (or Morgenfrue) and was produced by Aluminia Royal Copenhagen faience from 1934 to 1967, such was its popularity and timeless qualities. The design is by the iconic designer and potter NILS THORSSON.

What I like about this design is the great combination of colours and the simple orange flower motif (the Calendula).

The base colour is a lovely pale cream which is complimented by the simple orange flower, lovely woven texture rims, and dark green detailing on the rims and leaves.

Aluminia had been established in Copenhagen in 1863. In 1882, the owners of Aluminia purchased the Royal Copenhagen porcelain factory. From 1901-1928 Alumina had a renewed era of success under Chairman Joachim (1870-1943) and Harald Slott-Møller (1864-1937).

In 1928 Nils Thorsson took the factory to its new and final era before closing in 1969,  although Royal Copenhagen continued to use the name of Alumina for some of its ware for a time afterward. Nils Thorsson continued to work for Royal Copenhagen into the 1970s.

Aluminia Morgenfrue Bowl

Aluminia Morgenfrue Bowl

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Royal Copenhagen Quaking Grass

Royal Copenhagen Quaking Grass

When designing Quaking Grass, (pattern number 884) Thorkild Ohlsen developed beautiful and subtle porcelain forms with elegant lines, and perfect proportions. This was combined with Art Nouveau and Oriental-inspired, hand-painted botanical elements in patterns that are timeless and elegant.

The forms designed for this service were to be used on many dinnerware designs that followed including the equally admired “Fensmark”.

Quaking Grass was produced from the early-30’s until approximately 1960, as it simply did not go out of style.

Quaking Grass derives it name from an early-19th century botanical illustration of the ‘Doxia’ plant, more-commonly known as ‘Quaking Grass’. This plant is common in the Scandinavian region, and is highly regarded for its golden “Japanese lantern” style seed pods that hang from long stems that ‘quake’ with the slightest breeze, giving each plant a charming quality that makes a field of Doxia dance with lively energy.

Ohlsen captured the delicacy and movement of this beautiful plant, in beautifully and delicately rendered leaves and stems of sage green, surmounted by seed pods rendered in gold. Each spray of Doxia is slightly different, demonstrating the skill of the painters of this ware.

This work was produced by painters who also painted the famous Danish botanical paintings on the illustrious ‘Flora Danica’ porcelain service produced by Royal Copenhagen The botanical motif is restricted to small central areas and sides of the individual plates and serving pieces, allowing the beautiful pale cream color of the porcelain to serve as the primary decorative element.

‘Quaking Grass’ was primarily sold in Europe and the United Kingdom, and was extremely expensive when new, with a full dinner service for 14 with serving pieces selling for nearly $5,000 in the Late-1950’s–an astronomical sum at a time when a service for 12 of Noritake, sold for around $150.00

Royal Copenhagen Quaking Grass

Royal Copenhagen Quaking Grass

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