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MARK OF GEORG JENSEN, COPENHAGEN, 1933-1944
Details
A SILVER CENTERPIECE TUREEN DESIGNED BY HARALD NIELSEN
MARK OF GEORG JENSEN, COPENHAGEN, 1933-1944
Circular, on a stepped base, with two bifurcated handles, the domed cover with stylized bud finial, no. 837, marked under base
12 in. (30.5 cm.) long over handles; 71 oz. 10 dwt. (2229 gr.)
MARK OF GEORG JENSEN, COPENHAGEN, 1933-1944
Circular, on a stepped base, with two bifurcated handles, the domed cover with stylized bud finial, no. 837, marked under base
12 in. (30.5 cm.) long over handles; 71 oz. 10 dwt. (2229 gr.)
Further details
Harald Nielsen
Jensen's brother-in-law, Harald Nielsen (1892-1977), joined the firm as an apprentice in 1909 and remained there until the 1960s. Nielsen was Jensen's closest colleague at the firm, and he was deeply versed in both Rohde's and Jensen's styles. An accomplished draftsman, he often fleshed out their sketches to provide detailed working drawings for the silversmiths. Nielsen's own designs reflect the influence of these two men. His dolphin platter (lot 329), for example, harkens back to a design for a fish platter by Johan Rohde (lot 220), while remaining true to his aim to maintain a balance between ornament and plain surface.
Nielsen was drawn to modernism, and as artistic director of the firm he bridged the styles of Jensen and Rohde and the designers of the 1930s whose work was influenced by modernism. For example, his 1926 design of Pyramid pattern (lots 279-294) or his candelabra (lots 302-303) reflects a taste for stylized, geometric shapes and his desire to prevent ornament from dominating.
Jensen's brother-in-law, Harald Nielsen (1892-1977), joined the firm as an apprentice in 1909 and remained there until the 1960s. Nielsen was Jensen's closest colleague at the firm, and he was deeply versed in both Rohde's and Jensen's styles. An accomplished draftsman, he often fleshed out their sketches to provide detailed working drawings for the silversmiths. Nielsen's own designs reflect the influence of these two men. His dolphin platter (lot 329), for example, harkens back to a design for a fish platter by Johan Rohde (lot 220), while remaining true to his aim to maintain a balance between ornament and plain surface.
Nielsen was drawn to modernism, and as artistic director of the firm he bridged the styles of Jensen and Rohde and the designers of the 1930s whose work was influenced by modernism. For example, his 1926 design of Pyramid pattern (lots 279-294) or his candelabra (lots 302-303) reflects a taste for stylized, geometric shapes and his desire to prevent ornament from dominating.