Georg Jensen silver is amongst some of the most sought-after silverware on the secondary market. From his beginnings during the Art Nouveau period through to his death in 1935, Georg Jensen produced some stunning and timeless silverware that continues to be popular today.
With many of Jensen’s designs instantly recognisable, it is no wonder that the secondary market is abuzz with demand for these historic pieces. With that in mind, let’s take a look at some of the most popular and sought-after Georg Jensen silver designs. Particularly, flatware designs.
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Acorn Pattern
The ‘Acorn’ pattern is a classic Jensen design.
The ‘Acorn’ pattern is, without question, the most famous and best-selling of the Georg Jensen silver flatware designs. Designed by Johan Rodhe in 1915, the ‘Acorn’ pattern was first exhibited at the World’s Fair in San Francisco, and quickly became popular.
The simple design echoes elements of Jensen’s characteristic ebb and flow design, with the acorn motifs emphasising the shape of the piece. Classic and timeless, the design remains in Jensen’s portfolio even today. Whilst the range once comprised 220 pieces, it has now been reduced to 75. However, the Acorn flatware still maintains the air of traditional luxury with which it has long been associated.
Pyramid Pattern
The ‘Pyramid’ pattern echoes Art Deco influences.
The ‘Pyramid’ pattern of silverware was designed by Harald Nielsen, Georg Jensen’s brother-in-law, in 1927. Having begun his apprenticeship in 1909, during the Art Nouveau movement, Nielsen began experimenting with the geometric shapes of Art Deco.
With the discovery of the tomb of the Egyptian Pharaoh Tutankhamun in 1922 came a fascination with Egyptology to the West. The ‘Pyramid’ design brings together the elements of Egyptology and Art Deco to create a stylised and timeless flatware design.
Blossom Pattern
The Blossom flatware was designed by Georg Jensen, and shows his love of mother nature.
Georg Jensen himself designed the famous ‘Blossom’ pattern flatware. Having spent his formative years practicing the art of silversmithy amid the Art Nouveau movement, Jensen was passionate about marrying form and function with the beauty of nature. This ethos led to the design of the ‘Blossom’ pattern.
Jensen designed the ‘Blossom’ pattern in 1905 for a teapot. However, it was not until 1919 that the ‘Blossom’ flatware was created. The intricate design depicts a flower bud on the verge of blooming that snakes its way up the stem of the piece (fork, spoon, knife, etc…) The ‘Blossom’ design is indicative of Georg Jensen’s fascination with mother nature.
Cactus Pattern
The ‘Cactus’ pattern was designed by talented chaser, Gundorph Albertus.
The ‘Cactus’ pattern was designed by Gundorph Albertus, who trained as a chaser in 1905 and finished his silversmith training in 1909. By 1911 he had trained further at École des Arts Décoratifs in Paris and returned to Denmark to work as a chaser for Georg Jensen. By 1915, he had also trained as a sculptor.
In 1930, Albertus designed the ‘Cactus’ pattern, incorporating elements of Art Deco design with the classic elegance of Jensen’s pieces. Having trained as a chaser, Gundorph Albertus was used to working meticulously with silver and learning its habits and limits, allowing him to impart impressive detail to his designs.
Georg Jensen Silver Designs by Johan Rohde
Johan Rohde was Jensen’s first collaborator.
Johan Rohde’s collaboration with Georg Jensen is, arguably, one of the most important in Jensen’s history.
Jensen and Rohde knew each other well before their first collaboration. Having been friends since college, Rohde had previously encouraged Jensen to exhibit his work at the Danish Royal Academy of Fine Arts in 1897.
In 1904, Rohde commissioned Jensen to bring to life designs he had drawn of everyday objects for his personal use. Georg Jensen, impressed by Johan Rodhe’s work, employed the former as a designer. Eventually, Jensen secured a permanent contract with Rodhe in 1913.
Johan Rodhe’s ‘Acorn’ design (dating back to 1915) produced what is considered the most famous flatware in Jensen’s portfolio. Rodhe’s designs are revered and highly sought after, with objects such as fish dishes commanding five-figure sums, and silver services selling for thousands.
Georg Jensen Silver Designs by Harald Nielsen
Harald Nielsen was Georg Jensen’s brother-in-law and close collaborator.
The connection between Harald Nielsen and Georg Jensen reaches back further than their first collaboration. Nielsen was the younger brother of Georg Jensen’s third wife, Laura Nielsen and, through his family connections, he was drawn to the profession of silversmithy. He began as an intern for his brother-in-law in 1909.
Nielsen’s style was similar to that of Johan Rodhe’s, and he had a particular eye for detail. Nielsen was uniquely gifted in turning Jensen and Rodhe’s rough sketches into precise designs.
One of Nielsen’s most revered designs is the ‘Pyramid’ flatware. Dating back to 1927, the design is indicative of the Art Deco period whilst remaining true to the classic streamlined style of Georg Jensen silver flatware.
Nielsen remains one of Jensen’s most famous collaborators, with his pieces often fetching tens of thousands of pounds at auction.
A History of Georg Jensen Silver
The name Georg Jensen is well-known and respected in the fields of silversmithy and jewellery. The Danish designer and silversmith had a profound effect on the market for such items throughout his career. By the 1920s, Georg Jensen had shops all over Europe. His story, however, began in a small town north of Copenhagen.
Jensen was born in Radvad, a small town north of Copenhagen, to a knife factory grinder and a housemaid. His family noticed his gift for creativity when Jensen was very young, due to the fact that he would spend his time at a nearby clay pool, fashioning sculptures from the clay. His family nurtured his creativity, and at the age of 14, Jensen travelled to Copenhagen to become an apprentice goldsmith. He took on additional hours training on Sundays, eventually gaining entry to the Royal Academy of Art in Copenhagen.
At this point in his life, Jensen had a passion for sculpting. This early passion would influence his work as a silversmith later in life. In 1891, a piece of Jensen’s work was exhibited at the Charlottenborg annual exhibition.
Jensen became good friends with Johan Rohde, a painter, designer, architect, sculptor, and writer. Rohde founded an alternative exhibition with Joakim Skovgaard, named den Frie Udstilling. This exhibition was meant to challenge the traditional values of Charlottenborg.
Jensen exhibited a piece at the 1900 World’s Fair in Paris. After this, Jensen spent two years travelling around Europe. He was highly influenced by Art Nouveau during his travels and returned to Copenhagen with new creative visions. He aspired to create beautiful, handmade, and useful objects, as opposed to mass-produced products that were being made increasingly by machines. In a time of industrial growth, this was a difficult venture to undertake.
On his return to Copenhagen, Jensen took a job with silversmith Mogens Baillin. Baillin nurtured Jensen’s talent and allowed him to exhibit his designs under his own name, even paying Jensen commission.
In 1904 Jensen rented a small shop in Copenhagen with a view to building a silverware business, and later that year he exhibited at the Museum of Decorative Art in Copenhagen as an independent silversmith. This exhibition put Jensen on the map, and he began selling out of stock at his small shop.
To begin with, Jensen made mostly jewellery because it was a smaller financial investment than making flatware. However, in 1905, his old friend Johan Rohde came to him with clay models of flatware that he wanted to be made out of silver. The two men were opposites in terms of character, but in terms of design, they shared the same vision. They wanted to create everyday use objects of the finest quality, and influenced by stunning Art Nouveau design. The collaboration was fruitful and soon became a permanent arrangement. One of Jensen’s most famous flatware pieces was designed by Rohde – Acorn.
Through Jensen’s third marriage his business expanded. He gained collaborators and workers for his shop. The staff grew to nine plus two apprentices. The workshop was the centre of creativity – every piece was handmade. In 1906, Jensen finished his first set of flatware, named Continental, a nod to his time travelling in Europe.
In 1909, his wife’s youngest brother, Harad Nielsen, became an apprentice engraver for Jensen, but quickly displayed a talent for design. He created the drawings from which the silversmiths worked. He began collaborating on designs with Jensen and Rohde, often creating designs so in tune with theirs that it was difficult to tell who the designer was. Harald Nielsen became one of the most famous and valued designers for Georg Jensen, even taking over as creative director upon Jensen’s death in 1935. The flatware pattern – Pyramid – is a design by Harald Nielsen.
Another famous designer that Jensen collaborated with is Gundorph Albertus, who in 1911, began to work for Jensen, learning every kind of craft in the business. Later, he became an advisor deputy director of the silversmithy, responsible for quality control. The designs Cactus and Mitra were designed by Albertus.
Between 1907 and 1918, the business thrived, and Jensen was the happiest he had ever been in his third marriage. The marriage was also opportune as it provided workers for his shop – his wife’s sister became the bookkeeper.
In 1916 Jensen created his company GEORG JENSEN SOLVSMEDIE A/S (GEORG JENSEN SILVERSMITHY LTD.) and sold shares in the firm to fund the increasing production. Danish engineer P.A. Pederson and Thorolf Moller bought huge shares in the company as they were admirers of Jensen’s work.
By 1918, Jensen had 125 staff and had to move to larger premises. In 1918 Jensen, Nils Wendel and Thorolf Moller formed a joint-stock company called Aktieselskabet Georg Jensen & Wendel, and strived to build a new shop that was as elegant as the stock they produced. The shop was designed by Rohde. Plans were made for shops to be built in Paris and London.
In 1919, as the business grew, P.A. Pedersen took over the chairmanship of the company. Thorolf Moller and Nils Wendel joined the board of the Silversmithy. Georg Jensen remained artistic leader.
In 1923 a Georg Jensen store was opened in New York, and sales boomed. Jensen had cemented himself as an international success.
Despite his success, Jensen felt that his creativity was being dulled, and spent much of his time alone in his small workshop, only travelling to the large workshop when he was truly needed. This was after one year of unsuccessful living in Paris, where Jensen hoped to reconnect with his creative self.
Jensen died aged 69 in 1935. His designs are highly sought after, and his business continues to do well even today. He is one of the most celebrated silversmiths in the world. You can visit the Georg Jensen website here.
Georg Jensen had an eye for talent, just as Mogen Baillin had when he took Jensen on. Some of the most influential designers that worked for Jensen include Johan Rohde (1856-1935) Just Andersen (1884-1943) Gundolph Albertus (1887-1970) Harald Nielsen (1892-1977) Arno Malinowski (1899-1976) Count Sigvard Bernadotte (1907-2002) and Henning Koppel (1918-1981).
