ANTIQUES AND THE ARTS WEEKLY

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Auction 119

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8C — Antiques and The Arts Weekly — August 24, 2018

51ST ANNUAL ASIAN ART WEEK

AUGUST 20 25, 2018 ON CAPE COD

JAPANESE ART AT AUCTION I Tues. & Wed., August 21-22

Both sessions beginning at 10 a.m. Eastern. On exhibit Mon., August 20 from 10 a.m. to 5 p.m. and the sale dates starting at 8:45 a.m.

Hiroshi Yoshida Watercolor Nara/Heian Period Guardian Lions Kawase Hasuie Kinkozan Satsuma Koro

Imari Temple Jar Hiroshi Yoshida Miyao Bronze More Than 200 Netsuke and Ojime
and Mixed Metal
Samurai Figure

Meiji Period Screen Nabeshima Utagawa Kunisada Tadashi
Bowl Nakayama

THE PRINTS OF PAUL JACOULET I Wed., August 22

Beginning at 4 p.m. On exhibit Mon., August 20 from 10 a.m. to 5 p.m. and the sale date starting at 8:45 a.m.

Fleurs du Soir Fumees de Santal Le Paci que Mysterieux Avant l’Audience

MA Lic.#155

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10C — Antiques and The Arts Weekly — August 24, 2018

Gundlach-Pedersen, who served as the firm’s artistic director for decades, also used the
“scroll” motif seen here for a beverage service set. Toast rack, model 510, designed by Oscar
Gundlach-Pedersen, designed 1927, produced 1927–32. Carole and Gordon Segal Collection.
This classic form is known as the “Bernadotte Pitcher” after the designer and second son of King
Gustav VI Adolf of Sweden who worked at Georg Jensen. Pitcher, model 856, designed by Sigvard
Bernadotte, designed 1938, produced 1938–39. Promised gift of a private collection.

Georg Jensen

SCANDINAVIAN DESIGN FOR LIVING

These examples of silver hollowware with nature-based ornament and lightly
hammered surfaces illustrate Georg Jensen’s own roots in the Arts and Crafts
style. Box, tobacco caddy, butter dish and tea caddies, models 30, 30C, 44, 46 and
137, by Georg Jensen, designed 1912–14. Lent from a personal collection.

Nielsen is perhaps best known for his Pyramid pattern flatware and hollowware. Pitcher, model 606, by
Harald Nielsen, designed 1930, produced 1930–32. Promised gift of a private collection.

( continued from page 1C ) emblematic of lifestyle developments while also referencing a style progression from
The still-active company has had its share of ups and downs. Having achieved only Art Nouveau and Arts and Crafts to Modernism and beyond. Fisher underscored that
limited success as a sculptor and as the owner of an art pottery business, the artist some of the firm’s success can be attributed to its adeptness at weathering change.
Georg Jensen (1866–1935) founded a silversmithing company in the city of Copenha-
gen in 1904. While he served as the firm’s only designer at the start, he invited others Incorporated into the exhibition is a special learning area titled “Laying the
to join the enterprise not long after. The company launched satellite shops in Berlin Danish Table.” It features period photographs of trade show and related displays
(1909), Paris (1918), London (1921) and other cities. Particularly important to this from the Georg Jensen Archives. Fisher noted that thematic vignettes, with titles
exhibition is the New York City branch opened by Frederik Lunning in 1924. But all such as “A Child’s Birthday Party” and “A Danish Beer Party,” were used to show-
was not glorious. Georg Jensen suffered much personal loss (three of his four wives case silver and stainless steel by Jensen and tableware made by others but
died before him) and also became somewhat alienated from the firm during the last retailed by the firm. Stated Fisher, “I want people to understand that these prod-
decade of his life. ucts were not used in isolation but were part of a Danish home.”
The World War II years were particularly dark for the company. With the German
invasion of Denmark in 1940 came the inability to access formerly lucrative markets The generously illustrated catalog contains essays by Fisher, independent curator
and shortages of material, not to speak of the impact on employees’ lives. The legend- Maggie Taft and director of the Museum at Koldinghus Thomas C. Thulstrup. In
ary firm reinvented itself after the war, winning international acclaim for home “Outfitting the Modern Home: Georg Jensen Style,” Fisher examines the internal and
wares that were useful, well designed, minimalist and democratic in spirit. In 1973, external factors influencing the firm’s activity in this area of production. In her con-
Royal Copenhagen acquired the firm, making it part of Royal Scandinavia Group. It tribution, Taft addresses the relationship between Jensen silver and Danish furni-
was acquired by new owners in 2001 and again in 2012. ture of the sort designed by Finn Juhl and Nanna Ditzel, especially as it played out in
Fisher spoke movingly about the designers, approximately a dozen in number, who America during the mid-Twentieth Century. She also discusses how popular publica-
are highlighted in the exhibition and whose collective artistic output spans the Twen- tions and exhibitions such as “Design in Scandinavia,” which traveled in the United
tieth Century. They shared a common respect for Jensen’s design legacy even as their States and Canada during the years 1954 to 1957, promoted Scandinavian Modern
individual artistic voices differed. In fact, each designer, upon joining the firm, stud- home décor throughout North America. Thulstrup rounds out the catalog with his
ied pieces previously produced at the company. Fisher observed, “following the long- concise corporate history.
standing qualities of ‘Georg Jensen style,’ abstracted ornament, smooth expanses of
silver and designs capturing the luscious quality of silver — all were active in the This volume joins other publications on Jensen, including the Renwick Gallery’s
design evolution of the company.” Georg Jensen Silversmithy: 77 Artists, 75 Years (1980); Janet Drucker, Georg Jensen,
Among these amazing talents were Henning Koppel (1918–81), Johan Rohde A Tradition of Splendid Silver (1997); Janet Drucker and William Drucker, Georg
(1856–1935), Harald Nielsen (1892–1977), Sigvard Bernadotte (1907–2002) and Jensen: 20th Century Designs (2002); Jason W. Laskey and David Taylor, Georg Jen-
Oscar Gundlach-Pedersen (1886–1960). They expressed their own design and style sen Holloware: The Silver Fund Collection (2003); Thomas C. Thulstrup, Georg Jen-
preferences while working within the Jensen rubric. For example, the silver sen: Silver & Design (2004); and Georg Jensen Jewelry (2007), edited by David Taylor.
designed by Jensen’s brother-in-law Nielsen was initially almost indistinguishable
from that of Jensen’s in its naturalistic ornament and other characteristics, but as Designers fluent in diverse styles found the Jensen firm — a combination silver-
Nielsen charted his own path, he came to embrace a deceptively simple, austere smithy, design incubator, interior design resource and international retailer — an
aesthetic exemplified by the sphere-like pitcher, model 606. Similarly, the swelling, environment conducive for realizing their concepts. They did this while honoring
supple, sculptural forms beloved by Koppel stand in contrast to the stark, “mechan- Georg Jensen’s venerable commitment to fine design and craftsmanship. This wel-
ical” shapes brought forth by Bernadotte. Even so, the work of both is recognized come exhibition mounted by the Art Institute of Chicago pays tribute to a less, well-
as “Jensen.” understood and appreciated aspect of Jensen’s commercial design program and to the
In conversation, Fisher stressed the themes of Home and Style as also central. She enduring company’s sterling birthright.
described how favored domestic forms and styles shifted during the period under
study, pointing to the introduction of cocktail shakers and stainless-steel flatware as The Art Institute of Chicago is at 111 South Michigan Avenue. For more informa-
tion, www.artic.edu or 312-443-3600.

The accompanying catalog Georg Jensen: Scandinavian Design for Living by Alison
Fisher, Maggie Taft and Thomas C. Thulstrup has been published by Yale University
Press.

Kate Eagen Johnson is an expert in American decorative arts and an independent
museum consultant, historian, lecturer and author.

August 24, 2018 — Antiques and The Arts Weekly — 11C

Art Institute Of Chicago

According to Fisher, “this rising star in the postwar period was
famous for his artistic sensibility and for the design of very techni-
cally challenging pieces. The Jensen silversmiths had to engineer
pieces to the millimeter to achieve his nearly seamless designs.” “Eel
Dish” covered platter, model 1054, designed by Henning Koppel,
designed 1956, produced 2015. Art Institute of Chicago. Promised gift
from a private collection.

Dining table lighting is an essential component of Danish daily life.
Candelabra, model 740, by Georg Jensen, designed 1934, produced
1934–44. Private collection, Florida.

Fisher remarked, “This is a perfect modern form. It is also great from a
functional point of view. It has nice balance and is easy to use.” Pitch-
er, model 432C, designed by Johan Rohde, designed 1920, produced
1930–37. The Art Institute of Chicago. Promised gift from a private col-
lection.

Coffee and tea service, model 1017, by Henning
Koppel, designed 1952, produced 1945–77; 1998.
Anonymous loan.

This firm championed melamine for its exciting design applications. Artfully stacked
here are a salad bowl and nine salad plates. Salad serving set designed by Henning
Koppel for Torben Orskov & Company, designed circa 1965. The Art Institute of Chi-
cago.
Scandinavian Modern furniture, here represented by a teak and wicker chair, became
popular internationally due to its association with Jensen. The Ditzels designed jew-
elry for Jensen. Basket chair designed by Nanna Ditzel and Jorgen Ditzel, manufac-
tured by Ludvig Pontoppidan, circa 1950. The Art Institute of Chicago. Architecture
Purchase Account Fund.

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