ROYAL COPENHAGEN

Royal Copenhagen, officially the Royal Porcelain Factory (Danish: Den Kongelige Porcelænsfabrik), is a Danish manufacturer of porcelain products and was founded in Copenhagen 1 May 1775 under the protection of the Danish widow Queen Juliane Marie. It is recognized by its factory mark, the three wavy lines above each other, symbolizing Denmark’s three seas: Kattegat, Nordsøen and Skagerrak.

Early years:

Royal Porcelain manufactory on Købmagergade in Copenhagen (19th century)

Starting in the 17th century, Europeans were fascinated by the blue and white and white porcelain exported from China during the Ming and Qing dynasties.

The Royal Copenhagen manufactory operations began in a converted post office in 1775. It was founded by a chemist, Frantz Heinrich Müller, who was given a 50-year monopoly to create porcelain. The first pieces manufactured were dining services for the royal family. When, in 1779, King Christian VII assumed financial responsibility, the manufactory was styled the Royal Porcelain Factory. In 1790, Royal Copenhagen brought out its now famous Flora Danica ‘Blue Fluted’ dinner service, with gilded edge and Danish flora motifs, and Royal Copenhagen held a monopoly on the "Blue Fluted" name.

By 1851, Royal Copenhagen qualified for the World Expo in London. In 1868, as a result of royal companies' privatization, the Royal Porcelain Factory came into private hands. It was purchased by the faience factory Aluminia in 1882. Shortly after Aluminia's acquisition, Royal Copenhagen production was moved to a modern factory building at Aluminia’s site in Frederiksberg, on the outskirts of Copenhagen. By 1889, Royal Copenhagen qualified for the World Expo in Paris, winning the Grand Prix, giving it international exposure.

The Golden Age & Hetsch:

1821-1864: G.F. Hetch, Artistic Director – 1851: The World Exhibition in London

During what has come to be termed the Golden Age of Danish culture, which lasts until the mid-1800s, the porcelain manufactory again flourishes and its production range is influenced by the classical ideals of the era.

The period’s trendsetting architect, G.F. Hetsch, is the porcelain manufactory’s artistic director. He assigns several artists to the factory, notably the flower painter J.L. Jensen who distinguishes himself with his multicoloured overglaze paintings. Hetsch designs several neo-classical services and elaborate vases richly ornamented in gold. He often finds inspiration, as is customary at the time, in foreign styles, patterns and colours. But he inevitably refines the style in his endeavour to find ‘purity’ that for him is the distinguishing feature of Danish porcelain and so essential to national identity in this period, when the Royal Copenhagen Porcelain Manufactory’s role as the nation’s flagship is growing.

The porcelain manufactory’s artistic performance is raised to such a pitch under Hetch’s leadership that the factory in 1851 is qualified to participate in its first official exhibition, the World Exhibition at the Crystal Palace, London.

A New Era:

1849: The Constitution – 1853: Bing & Grøndahl – 1868: The Royal Copenhagen Porcelain Manufactory goes over to private hands - 1882: Alumina and the Royal Copenhagen Porcelain Manufactory – 1884: The Royal Copenhagen Porcelain Manufactory moves to its present address

Absolute monarchy is abolished in Denmark in 1849. Old state monopolies disappear and privileges are revoked, with the introduction of the new constitution. The old porcelain factory is now compelled to prove its viability on the free market. Soon, Denmarks other large porcelain factory appears, Bing & Grøndahl.

The figure maker Frederik Vilhelm Grøndahl proposes that Meyer Herman and Jacob Herman Bing, two brothers who are art dealers in the city, establish a porcelain manufactory. It would produce biscuit figures based on the works of Thorvaldsen, the renowned Danish sculptor. Grøndahl has a great deal of experience with the production process involved from his years with the Royal Copenhagen Porcelain Manufactory, where he trained. Bing & Grøndahl is founded on 19 April 1853.

Porcelain´s modern breakthrough:

1885: Arnold Krog and Pietro Krohn - 1886-88: The Heron Service – 1888: The Nordic Exhibition in Copenhagen – 1889: The World Exposition in Paris – 1900: The World Exposition in Paris

A broad-based group of Danish industrialists, artists and craftsmen constitutes the driving force behind porcelain’s modern breakthrough. However, the primary stimulus is supplied by the artistic directors of the two porcelain manufactories: the architect Arnold Krog at the Royal Copenhagen Porcelain Manufactory 1885-1916, and the painter Pietro Krohn 1885-1892 at Bing & Grøndahl, followed by the sculptor and painter J.F. Willumsen 1897-1900.

Renewal focuses on the underglaze technique. Hitherto, the technique was used solely for plain blue painting, as for instance on the Blue Fluted pattern. Taking their inspiration from the era’s idolisation of nature and from Japanese woodcuts, the Danes refine a type of watercolouring technique in which the colour is applied both with a brush and sprayed on to give a fresh natural resonance. A chrome green and a golden brown/red are gradually added. The restricted underglaze palette is used with such virtuosity that entire landscapes expand under the clear glaze in mild, dimmed tones.

Audacious and free modelling is also manifest in this period. In 1886-88 Pietro Krohn anticipates the art nouveau genre with his Heron Service, while notably Eiffie Hegermann-Lindencrone’s i perforated, carved porcelain urns and J.F. Willumsen’s powerful works stand out convincingly at the turn of the century.

Danish underglaze porcelain attracts great attention at the World Exhibition in Paris in 1889 and is awarded the Grand Prix. The international breakthrough is guaranteed. Efforts intensify in the subsequent years, culminating in prizes, honours and commendations at the World Exhibition in Paris in 1900.

The dawn of a century of modernity:

1909: Gerhard Henning – 1911: House of Porcelain on Amargertorv – 1912: Patrick Nordström - 1914-1918: The Great War

The new century begins with a craving to again break the confines and search for new idioms for a modern time. At the porcelain factory several skilled artists pursue their own cogent paths.

With their luxuriant and richly coloured Alumina faience in typical Danish art nouveau style, Christian Joachim and Harald Slott-Møller create a golden age for Danish faience. The sculptor Gerhard Henning causes a stir with his elegantly refined porcelain figurines, elaborately decorated overglaze in oriental fairy tale mode. In sharp contrast, interest emerges, too, for robust stoneware, a genre in which Patrick Nordström shows the way with his pioneering experiments in stoneware glazes.

Since 1885 the Royal Copenhagen Porcelain Manufactory has had a shop on Amagertorv in Copenhagen. It now moves to the old Renaissance building at number 6, an alderman’s courtyard dating from 1616, where it remains to this day.

Between the wars:

1925: Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris - 1940-1945: World War II

Two predominant styles, Art Déco and functionalism, mark the years between the two world wars.

Both discernibly influence Danish porcelain — although imbued with a typical Danish interpretation, in other words, the addition of an equal measure of common sense, humanity and harmony.

It subdues the Roaring Twenties’ otherwise more exaggerated and flippant Art Déco with more discreet shapes and decorations, as for example in Christian Joachim’s and Thorkild Olsen’s porcelain services.

To the under different skies often very stourt and ascetic functionalism, Danes add friendly rounded shapes and a straightforward, relaxed elegance. One example is Ebbe Sadolin’s Dinner Service of the Thirties, where functionalism becomes the forerunner of the style that would later catch on internationally as Danish Design.

Sparse decorative works equally represent Danish ceramic art strongly and origianally. Examples include Kai Nielsen’s naturalistic sculptures in pure white, gloss, undecorated porcelain that accentuates his rounded shapes, Arno Malinowski’s figurine series in blanc-de-chine porcelain, Jean Gauguin’s wild expressionist faience sculptures and Axel Salto’s unique stoneware in fruit-like shapes, geometric patterns and rich autumn tones.

Danish Design:

1962-1964: White Koppel – 1965: Blue Line

After the Second World War people take a more optimistic view of the future; a new and better world will be rebuilt. Simultaneously, the democratisation of society results in heightened awareness of and broader interest in decorative art and applied art, generally. Everyone should have an opportunity to acquire beautiful and functional objects. In Denmark this leads to a definitive style characterised by simple ease and natural elegance. With its international connotations, Danish Design becomes the style of the Fifties and Sixties, all over the world.

At the Danish porcelain manufactories the style is adapted with great virtuosity and competence, in both stoneware and porcelain. Among the renowned artists, ceramists and designers of the period are Axel Salto, Thorkild Olsen, Gertrud Vasegaard, Nils Thorsson, Magnus Stephensen and Erik Magnussen.

Two services from this period testify to two different parallel design lines: the sculptor Henning Koppel’s service from the early Sixties, in which generous, organic shapes in gloss, white porcelain suggest luxury, although remaining simple and functional; and the architect Grethe Meyer’s taut, functional faience service Blue Line — sober grey glaze and a simple blue line, which was destined to become the most popular Danish service in a modern idiom.

Diversity:

1978: Triton

The Seventies and Eighties are characterised by contrasting styles.

Firstly, the nostalgic ‘back-to-nature’ style of rustic handicraft, which finds its way to almost every home. The porcelain manufactories expand their artistic workshops giving a host of ceramists an opportunity to experiment freely.

Rustic is followed by its opposites: High-Tech, post-modernism and finally an elaborate new rococo, which finds its earliest and most illustrious expression in the Triton porcelain service, designed by the goldsmith Arje Griest.

The merger years:

1985: Royal Copenhagen – 1987: Bing & Grøndahl part of Royal Copenhagen – 1997: The Scandinavian art industry consolidates in Royal Scandinavia

Towards the end of the 20th century international competition sharpens to such an extent that the European art industry is compelled to amalgamate its resources in mergers, buy-outs and new partnerships.

The Royal Copenhagen Porcelain Manufactory had already bought Georg Jensen Silversmithy in 1972.

In 1985 the Royal Copenhagen Porcelain Manufactory and Holmegaards Glassworks merge under the name Royal Copenhagen A/S.

In 1987 Bing & Grøndahl joins Royal Copenhagen. The intention is to secure a strong position for the Danish art industry globally.

Numerous foreign subsidiaries are strengthened and established, and Royal Copenhagen shops open on prestigious thoroughfares in cities throughout Europe, the USA, East Asia and Australia.

Finally, the best of the Danish and Swedish art industry merges when Royal Copenhagen joins forces with the Swedish glass works Orreefors Kosta Boda, under the name Royal Scandinavia.

The porcelain division continues to bear the name Royal Copenhagen.

Decorative and Applied Art:

1993: Ursula – 1998: Ole

The last decade of the century is naturally marked by efforts to further the most essential attributes of each of the tradition-steeped companies, which are now united in one entity.

With respect to porcelain, renewal concentrates on two significant lines: developing and introducing new everyday items, while simultaneously experimenting with freer expression. A dual process that down through history has been the vital challenge facing Danish porcelain .

The ultimate winner of the Nineties is launched in 1993, with ceramist Ursula Munch-Petersen’s version of new and luxuriant functionalism in the Ursula faience service. In 1998 the ceramist Ole Jensen designs a series of sculpturistic applied art objects, under the collective name Ole. The collection is composed of individual items for the kitchen and table, with the shared idea of making play of work.

Some of Denmark’s best visual artists are provide the free artistic expression. Names of note include Jens Birkemose, Carl-Henning Pedersen, Bjørn Nørgaard, Arne Haugen Sørensen, Peter Brandes, Torben Ebbesen, Lise Malinowsky, Maja-Lisa Engelhardt and Doris Bloom, while the porcelain factory’s fulltime ceramists Sten Lykke Madsen, with his fabulous sculptures, and Ivan Weiss, with his metre-high urns and tiny ceramic boxes, combine to demonstrate the broadness of approach and openness with which Royal Copenhagen greets the new Millennium.

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