Deens zilver en skønvirke: Evald Nielsen en Bernhard Hertz

Door de redactie · Vakinhoudelijk getoetst · Bijgewerkt juli 2026

At the beginning of the twentieth century, Copenhagen formulated its own answer to European Art Nouveau: skønvirke, literally "beautiful work", a Danish applied arts movement that linked the formal language of flowers, leaves and grapes to a distinct silver discipline. In the decades that followed, thousands of brooches, necklaces and rings left the Copenhagen workshops for Germany, Sweden and, in remarkably large numbers, the Netherlands. Even today, Danish silver is visibly present here: in vintage shop windows from Amsterdam to Groningen, in estates and at regional auctions. Anyone in the Netherlands looking for "vintage silver" will sooner or later come across skønvirke.

This editorial guide describes the broader range of Danish silverwork that entered the Dutch vintage market, with a focus on the skønvirke movement and on workshops alongside the most famous Danish name (which has its own brand guide). For the latter, we refer once to our Georg Jensen brand guide; this guide does not repeat that material and concentrates on what else is available: Evald Nielsen, Bernhard Hertz and the collective of Danish silver workshops that are at least as relevant for the Dutch market in practice. We only mention names in text and do not show house marks.

At the beginning of the twentieth century, Copenhagen formulated its own answer to European Art Nouveau: skønvirke, literally "beautiful work", a Danish applied arts movement that linked the formal language of flowers, leaves and grapes to a distinct silver discipline.

Danish silver (skønvirke)

Skønvirke and the Danish silver tradition

Skønvirke is a Danish applied arts movement that took shape around 1907 (with the magazine title of the same name) and dominated Danish silver jewellery art between approximately 1900 and 1930. The movement is related to British Arts and Crafts and continental Art Nouveau, but has its own emphasis: artisanal execution, natural motifs (grapes, ivy, acorns, flower buds), and an explicit preference for silver over gold. The idiom is calmer than Viennese geometry and warmer than the British Cymric line.

In addition to the well-known major Copenhagen name (covered in its own brand guide), several independent workshops operated during the same period. Evald Nielsen (1879–1958) ran his own workshop in Copenhagen from 1905 and developed an explicitly organic signature with often heavier silver compositions and cabochon-cut semi-precious gemstones. Bernhard Hertz (founder of the family business that continues today under the BH brand) produced a wide range of Danish silver from the late nineteenth century, from skønvirke to later, cleaner lines. In addition, firms such as Georg Kramper, Peter Hertz and Christian Fr. Heise operated, which are less known in Dutch trade but appear regularly in appraisals.

The Dutch visibility of this work is explained by two converging factors: Danish silver production was geared towards export, and the Danish aesthetic (calm, artisanal, recognisable) was well-suited to Dutch taste during the interwar period and post-war decades. Therefore, anyone buying vintage silver in the Netherlands quickly encounters Danish work, and the longtail "danish silver jewellery" and "skonvirke" (even without the ø, as it is often typed in the Netherlands) is a targeted search query.

Recognising the style

Skønvirke jewellery is made of heavy silver (relatively solid in proportion to its size), with a chased or cast surface that is deliberately duller than factory production, and with a composition in which a single natural motif (grape cluster, acorn leaf, flower bud) defines the silhouette. Cabochon-cut semi-precious gemstones (amber, opal, chrysoprase, amethyst, coral) are the usual colour accents; enamel occurs but is less central than in Art Nouveau.

Later Danish production (1930s–1960s) is sleeker and less decorative, with more attention to mass and plane. This line aligns with broader Scandinavian modernism and is sometimes held separate by collectors from the skønvirke period, although the same workshops often produced both idioms.

Materials: predominantly Danish silver in 826/1000 or 830/1000 (the older Danish finenesses), later 925/1000 Sterling for export pieces. The fineness mark is a number on the piece, in combination with a town or hallmark and a maker's or firm's signature. For export countries (including the Netherlands), an additional import hallmark may be present; this allows for more precise dating and provenance.

Skønvirke jewellery is made of heavy silver (relatively solid in proportion to its size), with a chased or cast surface that is deliberately duller than factory production, and with a composition in which a single natural motif (grape cluster, acorn leaf, flower bud) defines the silhouette.

Danish silver (skønvirke) — stijl

Danish silver pendant with amber on bottle-green velvet — mood image, not a determination example. — Sfeerbeeld — atelier-impressie

Known pieces

A large production from the skønvirke period has been preserved; below is a general description of types that consistently reappear in Dutch collections.

Skønvirke brooch with grape or leaf motif

Heavy silver brooch with a chased grape cluster or acorn leaf, often with cabochon amber or chrysoprase as a central accent. The type most frequently represented in Dutch vintage shop windows; work by Evald Nielsen and Bernhard Hertz falls within this genre.
Skønvirke necklace with pendant

Silver necklace with a central pendant in the same leaf-shaped composition, often with a single semi-precious gemstone. Sought after in the vintage market as a representative piece from the period.
Ring with cabochon semi-precious gemstone

Heavy silver ring with a faceted or cabochon-cut stone (amber, opal, amethyst), with openwork in the same organic line. Wearable and sought after.
Later Danish silver (1930s–1960s)

Sleeker work in stylised forms, less decorative but with the same artisanal basis. This category aligns with broader Scandinavian modernism and is supported by its own collecting market.

Naslag — toeschrijving

Signature and attribution

Danish silverwork from this period usually bears a maker's mark or firm's signature, a fineness mark (826, 830 or 925), a town mark ("Copenhagen" or its corresponding coat of arms) and sometimes a date letter or assay office mark. For export work (including the Netherlands), an additional import mark is present. The signature is on the back of brooches, on the inside of rings and on the clasp of necklaces.

Attribution to a specific workshop (e.g. Evald Nielsen versus Bernhard Hertz) is made via the maker's mark and, where possible, by matching with published reference examples. Without a maker's mark, stylistic attribution is only responsible to "Danish skønvirke, Copenhagen circle". For the most famous Danish name, we refer to the separate Georg Jensen brand guide; work from that house has its own set of marks and its own collecting market.

Collecting and value

The collecting market for Danish silver is stable and international, with a clear price distinction between the most famous name (which is valued separately) and the broader skønvirke work by colleague workshops. For work by Evald Nielsen and Bernhard Hertz, price ranges extend from a few hundred euros for common brooches to a few thousand for exceptional pieces; lesser-known work from the same tradition falls within the hundreds.

For the Dutch sales market, regional auction houses and specialised vintage jewellers are the logical channels. When selling, it pays to photograph all marks sharply: fineness, town mark, maker's mark and any import mark often provide a more precise appraisal than a stylistic argument alone.

→ Brand Guide: Georg Jensen

Veelgestelde vragen

Wat lezers vaak vragen

What exactly is skønvirke?

A Danish applied arts movement around 1900–1930, related to Arts and Crafts and Art Nouveau, with natural motifs and an artisanal silver discipline. Literally translated: "beautiful work".

Why is there so much Danish silver in Dutch drawers?

Danish silver production was geared towards export, and the Danish aesthetic was well-suited to Dutch taste during the interwar period and post-war decades. This makes the Netherlands one of the countries where the most Danish vintage silver turns up in estates.

Is Danish silver always 925?

No. Older Danish pieces are often 826 or 830 (the older Danish fineness); later export pieces are 925 Sterling. The number is on the piece, usually next to the maker's mark.

What is the difference between the most famous Danish name and the rest?

The most famous house has its own set of marks and its own collecting market with a separate price premium. Work by colleague workshops (Evald Nielsen, Bernhard Hertz and others) exists alongside that house and is at least as relevant for the Dutch market in practice. For the most famous name, we refer to our separate brand guide.

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