Information Regarding Georg Jensen

[dognose]

Georg Jensen - London - 1957

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[oel]

A pair of Danish Acorn pattern two light candelabra, maker's mark of Georg Jensen 1945-present, silver-smithy, Copenhagen, designer Harald Nielsen (1892-1977) designer's # 619. Each on molded spreading circular base; stylized acorn on rectangular base mounted to stepped and round foot. Two leaf shafts reeded shaped, each supporting vase shaped sockets with open leafy joins. Good patina. Dimensions: H 6 ½ x W 6 7/8 x D 3 3/8 inch. Total weight: 28 troy ounces.
For more information see;
http://www.925-1000.com/jensen_marks.html








I asked George Jensen in 2011; does your company know up till when the George Jensen Company has made those candelabra with design # 619. Could you pin point a more accurate manufacturing date, or can we only say made post 1945?
Georg Jensen answered; we are sorry to say, that we cannot help you with a more precise year for your set of candelabra, since almost all our silver products can still be made today. Furthermore, there is no records of when or how many products that were produced.

I must say a little disappointing using the same marks during a long period of manufacturing without date records .
About date codes used by George Jensen see:
https://www.jensensilver.com/georg-jensen-hallmarks




Peter

[AG2012]

The letter by Georg Jensen Antiques, Amagertorv 4, regarding annual spoons.

Here is the correct story on the year spoons from Georg Jensen.
In late 1970 Georg Jensen issued the first year spoon with 1971 on its back in sterling silver gold plated.The following years till and including 1994 we produced these spoons-each year the same shape but a different wild flower from the Danish fauna and only produced that particular year. In 1979 a fork and knife were introduced and in 1980 a coffee spoon as well as a cake fork-all the flower of that particular year. Each year only being produced for one year.
The 1994 set is the last in the series with flowers. From 1995 and including 2004 we produced just a spoon each year but now with berries. 2004 saw the last in the series -one of the designers had passed away and the other designer choose not to continue with the design.
So in short you will NOT find a spoon from 2005 or 2006 since they were never produced.

[dognose]

HAND-MADE SILVER FROM DENMARK

The Danish Institute in Doune Terrace, Edinburgh, is showing a Festival exhibition of the famous Georg Jensen silver. Georg Jensen, by profession a sculptor, founded the Copenhagen smiddy in 1908, and much of the tableware still turned out (by hand) there is to his design.

The exhibition includes modern Danish table arrangements. On one table lies a salmon-sized silver fish dish and stream-lined cutlery. Another table, set for a children's party, carries napkin pockets in its tablecloth, and silver mugs and plates of different design. "Caravel" is an effective name for elegent, tool-like knives, spoons and forks.

Source: The Glasgow Herald - 20th August 1960

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[dognose]

Letter opener, designed by Vivianna Torun Bülow-Hübe in 1989:




GEORG JENSEN - STERLING DENMARK - TORUN

See: viewtopic.php?f=47&t=49474

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[dognose]

Tongs in the Blossom pattern (Magnolie), designed by Georg Jensen in 1919:












GI - 925

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[dognose]

Member dragonflywink wrote:

Hans Hansen became part of Georg Jensen in 1992, he died in 1940, believe the design would more likely be by one of the firm's later designers - so far as I know, Jensen pieces with the Hansen mark are designs that were originally produced by Hansen...

See: viewtopic.php?f=15&t=37598&p=101239#p101239

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[dognose]

Member dragonflywink wrote:

Believe that's the 'Koppel' pattern, designed in 1981 by Rigmor Andersen and Annelise Bjorner...

See: viewtopic.php?f=35&t=50166

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[dognose]

A set of spoons in the Rose / Lilly of the Valley / Liljekonval pattern, designed by Georg Jensen and introduced in 1913:










Member of the Salon Paris


GJ - STERLING/DENMARK


G.J. Ld - London - 1934

See: https://www.925-1000.com/patterns_Jensen.html

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[dognose]

...........More significant is a recent ruling by the Commissioner of Customs with regard to the enforceability of Section 526 of the Tariff Act in cases in which the importation of genuine merchandise to the United States is stopped as a result of a recordation of the trade-mark appearing thereon by a United States citizen, who stands in a parent-subsidiary relationship to the foreign manufacturer or whose contractual arrangements with the foreign manufacturer are such as to leave ultimate ownership and control over the trade-mark in the latter's hands. The Commissioner recently held that in such situations, the Bureau will not enforce Section 526.* He said:

"Inasmuch as the petitioner in this proceeding presented evidence that Georg Jensen Solvsmedie of Copenhagen, Denmark, maintains control over the Georg Jensen trade-marks in this country, and as it is the opinion of the Bureau that when a foreign firm owns or controls one or more trade-marks in this country said trade-marks may not be used to prohibit the importation of articles sold by that foreign firm, all collectors of customs and other officers of customs shall hereafter not detain any jewelry or silverware under the trade-mark laws because the articles bear the words 'Georg Jensen' or any part thereof provided the articles were manufactured or sold by Georg Jensen Solvsmedie of Copenhagen, Denmark. All such articles presently being held solely on the ground that they infringe these marks shall be released."

* Petition of Georg Jensen Inc. for Cancellation of the Recorded Trade Name "Georg Jensen & Wendel A/S," T. D. 52,711, 86 T. D. No. 17, pp. 4, 5 (April 25, 1951). The petitioner has recently filed a petition for reconsideration of this ruling.

Source: The Trade-mark Reporter - United States Trademark Association - 1951

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[dognose]

United States trade mark details for Georg Jensen Inc., published in 1950:





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[dognose]

Georg Jensen Inc. - New York - 1954

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[dognose]

Royal Copenhagen Porcelain and Danish Arts, Inc. - New York - 1921

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[dognose]

An image of Georg Jenson wares from 1938:



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[dognose]

GEORG JENSEN (WHOLESALE) LIMITED

At an Extraordinary General Meeting of the Members of the above-named Company, duly convened, and held at 15b New Bond Street, London W1Y 9PF, on the 22nd July 1969, the following Special Resolution was duly passed:

" That the Company be wound up voluntarily and that Mr. J. Heaford of Messrs. Fuller, Jenks, Beecroft & Co. be and is hereby appointed Liquidator for the purposes of the winding-up."

J. Hostrup-Pedersen, Chairman.

Source: The London Gazette - 12th August 1969

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[dognose]

SALUTE TO GEORG JENSEN

Machine-age craftsman

From MURIEL COLVILLE


The Goldsmiths' Hall is hidden away behind. St Paul's in one of the few streets left unmodernised in the heart of the ancient City of London.

As you enter the huge carved doors, mount the stately staircase to the spacious reception halls with their panelled walls and costly carpets, you think of the hey-day of British craftsmanship when the word "goldsmith" conjured up visions of precious jewels and vast fortunes.

So it seemed fitting that the great Danish firm of Jensen chose the Goldsmiths' Hall in London, now the recognised centre of modern silver and jewellery design, as the focal point of centenary celebrations this month.

The exhibition commemorates the birth of Georg Jensen in 1866. Silver and jewels, some being shown for the first time, represented the work of one of the greatest craftsmen of modern times. Since his death in 1935, Georg Jensen's firm, headed by his son, is still turning out the silverware, cutlery, ornaments and jewellery for which the name Jensen is world-famous.

Because the master himself, his sons, and many of the team he gathered round him were primarily sculptors as well as silversmiths, the shapes of their wares are as exciting as any modern pieces of sculpture. Georg, in fact, was 38 before he became a full-time silversmith, and one of the first men he persuaded to join him was Sigvard Bernadotte, the artist whose name is linked not only to the reigning families of Sweden and Denmark but to the whole history of modern Scandinavia. Bernadotte's designs for modern cutlery in the 1930s were the first to be adopted for general use.

This exhibition stated clearly that what we call "modern" design can also be elegant. Though the line is simple and uncluttered it is seldom stark
and there is often great elegance in intricate engraving.

There were slender candlesticks, knives, forks and spoons borrowed from American museums of modern art, and bracelets created within the last few years by the young jewellery designers carrying on the firm. I inquired the price of an elegant fish-dish: "If it were for sale — which it is not", I was told, "it would cost around a thousand pounds".

Jensen, "impulsive, child-like and incessantly creative", opened a tiny shop in Copenhagen in 1904, employing one apprentice and a girl in the
ramshackle workrooms above the shop to make the modern silver he dreamed that one day would be turned out in quantity. Some 25 years later he had a staff of 250 and the realisation of his ambition: handsome modern silverware was accepted and acclaimed.

Putting over a new medium was not easy, however, in the early part of this century. The bourgeoisie of Denmark frowned on anything which
appeared sparse or simple. The more bits and pieces, ornaments and general trivia that could be crowded in, the more comfortable and prosperous the owner considered himself, it is said that servants took fours hours every morning dusting the 300 photographs in the King of Denmark's study.

According to Graham Hughes, art director of the Worshipful Company of Goldsmiths of London, Jensen's name is still famous not as a great man, not even as a great innovator, but because he succeeded where everyone else had failed. Indeed, fine modern silverware was not his own idea — it first appeared in England. What he did achieve was the successful revival of handwork in the machine age: Jensen designs are acclaimed as masterpieces in the world of modern craftsmanship.

Source: The Canberra Times - 26th November 1966

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[dognose]

An example of Georg Jensen's Cactus/Kaktus pattern, designed by Gundolph Albertus (1887-1970) and introduced in 1930:






STERLING/DENMARK


London - 1938


GJ - G.J. Ld


See: https://www.925-1000.com/patterns_Jensen.html

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[dognose]

U.N. Food Body Adopts New Seal

WASHINGTON— An official seal and motto have been adopted by the Food and Agriculture Organization of the United Nations (FAO) here.



The seal—a circular design on a clear field with a sketch of an ear of wheat, the world’s greatest food grain, in the center—will be used on FAO documents and the literature and as a symbol of the agency.

The motto, which appears in the seal, is the Latin phrase, “Fiat Panis,” or “Let There Be Bread.” It was selected by Sir John Boyd Orr, Director-General of FAO; as an appropriate phrase in a language from which a great number of others developed.

The seal was designed last September by Harold Nielsen of Georg Jensen, silversmiths, in Copenhagen.

Source: The Key West Citizen - 29th May 1947

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[dognose]

LONDON

Some beautiful silverwork by Georg Jensen, is to be seen at the Fine Art Society at 148 New Bond Street, W. Mr. Jensen is a sculptor as well as a silversmith and his fine appreciation of form and his skill in modeling stand him in good stead. His decoration is part and parcel of his structure, suiting itself inevitably to the form and character of the portion it has to adorn. Utility is not lost sight of in the quest of the decorative and the workmanship throughout is as high in quality as the design.

Source: American Art News - 17th December 1921

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[dognose]

An image of Georg Jensen:



This image is from 1920.

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