Royal Copenhagen Thorkild Olsen Bowl

Thorkild Osvald Olsen (July 7, 1890 in Glumsø - April 30, 1973 in Frederiksberg) was a Danish painter and ceramicist who worked with both faience and porcelain. He was the father of the architect Jørgen Selchau. Thorkild Olsen was the son of master tailor Ole Peder Olsen and Kristine Jensen, graduated in 1906 and became a student at the Royal Porcelain Factory under Arnold Krog in May 1908. He attended the Technical School and the Academy of Fine Arts from January 1911 to January 1914. Olsen was employed at the Royal Porcelain Factory from 1908. Porcelain Factory from 1908, head of the Juliane Marie department, the overglaze painting department, chief painter 1918 and teacher at the School of Arts and Crafts 1926-29. Thorkild Olsen became an important partner for Nils Thorsson in his revival of Aluminia. Later, Olsen became a key figure in the establishment of Den kgl. Porcelainsfabrik's world reputation. He worked with both modeling and decoration, especially over- and underglaze painting, and he contributed to the development of glazes. In his early works, such as a series of craquelé porcelain pieces from the 1920s, the decoration in iron red and gold is naturalistic, often with botanical motifs. Later he became preoccupied with stylizing the decoration, which eventually became pure abstraction based on the observation of nature, which played an important role for him. His starting point was always naturalism. The abstract ornament, also used in woodcuts and fabric prints, Olsen used in the 1950s for works in soft porcelain with decorations in the old Chinese pourpre de chine glaze, which was recreated in the late 1940s, and for decorations with bleu royal glaze. His late works are experiments in blanc de chine, with cuts and reliefs that emphasize the transparency of the mass. Thorkild Olsen received the K.A. Larssen Legat 1925 and 1937, support from the Reiersen Foundation 1925, silver medal at the World Exhibition in Paris 1925, Laur. Andersen 1935, Diplôme d'honneur at the World Exhibition in Brussels 1935 and in Paris 1937, H.H. Bruun and Højesteretssagfører C.L. David's Grant for Family and Friends 1958. He is represented in the Royal Copenhagen Museum, the Danish Museum of Decorative Arts, Museum of Modern Art, New York, Musée des Arts Décoratifs, Paris and Museo Internazionale delle Ceramiche in Faenza. He was married for the first time on June 12, 1920 in Frederiksberg to the ceramist Ellinor Selchau (January 12, 1899 in Svendborg - December 12, 1986 in Kongens Lyngby), daughter of gardener Anton Selchau and Margrethe née Thellefsen. The marriage was dissolved and he married a second time on July 9, 1938 in Frederiksberg with language teacher Berthe Christensen (October 16, 1913 in Paris, daughter of sales manager at Rouard, later director of Den kgl. Porcelainsfabrik Christian Vilhelm Christensen and Else Sachs.

Once upon a time, in beautiful Copenhagen, there was a ceramics workshop that would revolutionize the art of porcelain making. This workshop later became known as Royal Copenhagen. The story of Royal Copenhagen began in 1775 when the Danish king, Frederik V, decided to set up a ceramics workshop in Copenhagen. The workshop was founded under the name "The Royal Porcelain Factory". The king wanted to create a unique and exclusive production of porcelain goods that could match the quality of the European aristocracy's collection of finest porcelain. Soon, masters of the art were called in from both Germany and the Netherlands to contribute to the workshop's success. Together, these potters created the finest porcelain using their skill, precision and artistic flair. Every single pot, plate and figurine was hand-painted and unique, making Royal Copenhagen porcelain something truly special. Royal Copenhagen's popularity quickly grew and it became known worldwide for its aesthetics and craftsmanship. Royal families, nobles and important people across Europe almost competed to own the exclusive porcelain that bore the famous blue color, also known as "musselmalet". Over the years, Royal Copenhagen has developed and expanded its product line, but there has always been a strong focus on the finest craftsmanship. Despite industrial advances, the pottery masters have maintained the tradition of painting each piece of porcelain by hand, ensuring that each vase, bowl or cup is a unique work of art. Today, Royal Copenhagen remains a remarkable part of Danish cultural heritage. The beautiful blue and white porcelain wares have become a symbol of Danish design and quality and can be found in homes all over the world. Royal Copenhagen still strives to preserve the proud tradition of craftsmanship and beauty that made the workshop famous so many years ago. The story of Royal Copenhagen is a story of dedication to craftsmanship, love of beauty and an age-old tradition that lives on in our modern world. It is the story of a small ceramics workshop that grew to become an iconic brand and a symbol of Danish culture.