Conchiglia in ceramica di Nils Thorsson per Royal Copenhagen

Il ceramista e designer svedese-danese Nils Johan Thorvald Thorsson (1898–1975) crea numerose opere per la manifattura di ceramiche Royal Copenhagen. Il suo lavoro viene spesso considerato esemplare del modernismo Mid-Century danese, ed è molto apprezzato nel campo del design di ceramiche.

Thorsson nasce ad Eslöv, Svezia, nel 1898. All'età di tredici anni porta a termine un apprendistato all'Alumina Factory a Copenaghen, per poi studiare e laurearsi all'Accademia Reale Danese nel 1917. Solo una decade più tardi, nel 1928, viene nominato direttore artistico dell'Alumina, posizione che manterrà per quarantun anni. Quando l'Alumnia acquista Royal Copenhagen nel 1949, Thorsson continua a ricoprire la sua posizione di direttore artistico dell'azienda accorpata, dirigendo un team di designer talentuosi, tra cui Bethe Breyen, Kari Christensen, Johanne Gerber, Grete Helland-Hansen, Berte Jessen, Marianne Johnson, Inge Lise-Koefoed, Ellen Malmer, e Ivan Weiss.

I temi del lavoro di Thorsson come designer variano molto negli anni, e spaziano dal tema naturale che comprende motivi con uccelli, pesci, e farfalle, a temi astratti e geometrici. Durante i suoi anni al Royal Copenhagen, Thorsson è il designer più prolifico dell'azienda, disegnando almeno cinque delle serie più conosciute dell'azienda, tra cui Solberg (anni '30); Marselis (Alumina, anni '50), elegante ma abbordabile linea per l'uso quotidiano; Tenera (anni '60); Baca (anni '60), caratterizzata da motivi in rilievo dettagliati e complessi; e Diana (anni '70), oltre ad una serie di altri pezzi meno conosciuti ma più difficili da trovare sul mercato vintage. Sia la serie Baca che la Tenera includono forme disegnate da Thorsson stesso, mentre altre sono frutto di un lavoro di squadra. Oggetti e motivi di Thorsson sono marcati con il suo codice sulla base.

Thorsson muore nel 1975 a Copenaghen. Oggi, i suoi design Mid-Century in ceramica sono molto ricercati da collezionisti e amanti del vintage.

The Royal Copenhagen brand was founded as the Royal Danish Porcelain Manufactory in 1775 by chemist Frantz Heinrich Müller (1738-1820), under the protection of Denmark’s Queen Juliane Marie. Like all monarch-sponsored porcelain workshops initiated in countries around Europe in the 18^th century (e.g. Meissen, Sèvres, Wedgewood), Royal Copenhagen products were intended to compete in the market for expertly crafted Chinese imports, which were wildly popular among European aristocracy at the time. When Müller discovered a Danish source for kaolin, the crucial ingredient in fine, hard-paste porcelain, the Queen seized the opportunity to contribute to her local economy (as well as her international status) and awarded Müller a 50-year monopoly on porcelain production in Denmark.

Royal Copenhagen’s signature Blue Fluted pattern—the cobalt blue-on-white scrolling floral motif—was developed from the outset under Müller’s direction to imitate the stylized chrysanthemums found on Chinese imports, as well as the look of Meissen porcelain (the first true porcelain produced in Europe). This collection and its variants continue to be the brand’s bestseller today. Other iconic works from Royal Copenhagen’s production include the Flora Danica service (1790-1803), which feature polychrome plants and flowers inspired by the botanical encyclopedia of the same name and originally made for Catherine II of Russia; and, more recently, the modernist Blue Line dinnerware collection developed by architect-designer Grethe Meyer in 1965. 

In nearly 250 years, the Royal Copenhagen brand has produced over 1,500 pattern variations on high-quality porcelain and faience cups, mugs, jugs, bowls, plates, tea sets, and more, typically employing highly skilled artisans and, since the 20^th century, collaborating with talented designers. The production procedure for each piece has evolved since the early days, but it still takes a few months to complete each set. The process starts with a delicate model produced by a 3D printer and then perfected by hand. This first sculpture is then used to make the final mold by a computerized milling machine; a porcelain liquid is then carefully poured into this and embellished with handles and decorations. Lastly, the unique artwork is hand-painted before it is glazed and fired at nearly 1375°C.

Over time, Royal Copenhagen has passed hands from succeeding Danish sovereigns to the Aluminia faience company in 1882, and later in the 20^th century incorporating with other Danish applied arts specialists like Georg Jensen, Holmegaard Glassworks, and Bing & Grøndahl. It’s now a subsidiary of Fiskars. The brand’s identifying stamps have also changed over time, but have consistently included three elements: three wavy lines symbolizing the Øresund, the Great Belt, and the Little Belt waterways in Denmark, the crown emblem representing the traditional royal patronage, and the individual artist’s signature marks.