Number 28 Bredgade

Oil on linen

36” X 24” (91cm X 61cm)

Available

At first sight I believed that this double shop frontage was just another charming late baroque building amongst a street of many such buildings. It was only when casting a wider gaze that I realised that number 28 was in fact a large complex of buildings culminating in a beautiful rococo palace. There is much of this French rococo architecture around the city’s elegant neighbourhood of Frederikstaden and it is all the more wonderful for it. 

The palace itself is indeed impressive but it is the wings that interest me, particularly the matched street frontages either side of the gates. This elaborate door pediment is from the lefthand facade and the wonderful stone carving positively bristles with life. The decoration is fine, detailed, naturalistic and typically asymmetric. There is an elegant balance to this entire facade, but it is the late sun on a winter’s afternoon that truly brings it to life, the soft warm coloured light picks at the detail whilst it renders cool blue shadows and reflections.

Junction Box on the Købmagergade

Oil on linen

24” X 36” (61cm X 91cm)

Available

For me this humble junction box, with its splash of graffiti together with the adjacent dented downpipe, are the stars of the little plaza on the Købmagergade. This is in itself quite a statement when you consider that the famous 17th-century ‘Round tower’ observatory connected to Trinity Church, is also on the plaza. But as the eyes of the tourists gaze tower-ward my own are fixed at street level, admiring the wonderful composition that’s been four hundred years in the making.

The Regenskirken, upon which the junction box is located, was built around 1620 and was the predecessor of the now famous Trinity Church. Today all evidence of the Regenskirken’s ecclesiastical past has long since vanished, but the business of the city has continued. The brick alcoves, who’s original purpose is unclear, have been repurposed to house these oversized electrical connectors for the streetlights above.

Elephant Porthole on the Museumshuset

Oil on linen

30” X 30” (76cm X 76cm)

Available

This elephant head is one of eight ceramic animal heads emerging from a line of brick portholes high above the arches on the north elevation of the Museumshuset on the Krystalgade. For almost a hundred years this enormous building housed the University of Copenhagen’s zoological specimensuntil 1965 when it was turned over to more mundane university purposes. 

Due to this elevation’s north-westerly aspect, the setting sun is the only daylight that strikes this wall. The yellow light of the late afternoon catches at an oblique angle casting dusty blue and mauve shadows across the terracotta surface. It appears as though the animals are poking out their heads from the ark in order to enjoy a rare glimpse of the sun.

For the Poor on the Garnisonskirken

Oil on linen

24” X 30” (61cm X 76cm)

Available

The Garnisonkirken or Garrison Church is situated on what can only be considered a highly desirable street. The wide roads boast ample footpaths and there is a substantial tree-lined central ribbon park with elegant footpaths punctuated with benches. It is easy to imagine that in times gone by the great and the good of the city would come here to see and be seen. But amongst the elegant buildings looms this enormous austere edifice.

Here, on a vast expanse of brickwork and dwarfed by the enormity of the windows, sits this small iron collection box, a solitary detail on an otherwise soulless slab. The box has been situated adjacent to what one would imagine would have been the church’s exit door and set securely into the wall. Only just audible over the ominous silence of the church, the box quietly exclaims ‘for the poor’. I wonder how often, if ever, it requires emptying.

Royal Copenhagen Six Amagertorv

Oil on linen

72” X 24” (183cm X 61cm) 

SOLD

The Mathias Hansen House (No. 6) quietly dominates the medieval market square upon which it sits. The building is now the flagship store for Royal Copenhagen porcelain and emblazoned with the name in large copper letters. However, it was originally built for Mathias Hansen in 1616, the then Mayor of Copenhagen. For me this building screams Copenhagen; it stands three stories in sumptuous red brick with sandstone decorations in a Dutch style which was fashionable at the time. It has a roof fashioned from sheet copper, as are the drainpipes that snake their way down the facade. It is these drainpipes that are the real stars of the show, decorated in marvellous detail with dragons blowing fire from their mouths.

But my favourite thing about this building occurs at dawn. As the sun rises it shines down the Højbro Plads and strikes the facade through an aperture created by the surrounding buildings- the light slowly moves across from right to left lighting it up with an incredible intensity. The sun has broken across this facade on more than 140,000 mornings, I stood and watched transfixed for the whole event for just one of them.

---

Gatehouse Roof on the Marmorbroen

Oil on linen

48” X 48” (122cm X 122cm)

SOLD

This carved stone roof is one of a pair that cap the two single storey gatehouse structures that occupy positions on either side of the marble bridge entrance of the Christiansborg Equestrian Palace. Like many of the fine buildings in the centre of the city, the complex of buildings that comprise the palace are in the rococo style and as such are decorated with wonderfully organic and typically asymmetric carved stone decoration.

The front elevation of this pyramidal stone carving shows two figures, one old and one young, that have been driven up by waves holding a mantle that in turn supports a golden crown. It is the morning light however that completes the effect of the sea. As the sun rises the cool blue light of the night is evaporated by the warmth of the morning and the yellowish hue is cast slowly down the monument as if it is rising from the murky depths of the ocean.

Copper Tower on the Knippelsbro

Oil on linen

48” X 24” (122cm X 61cm) 

Available

The iconic verdigris covered bridge towers are so well known that they are featured on Denmark’s 200 kroner bill. The Knippelsbro bridge is the fifth bridge to be constructed on the site and is one of Architect Kai Gottlob’s great masterpieces. Knippelsbro’s two towers are situated on either side of the roadway. Their art deco functionalist design is a clear reference to the enthusiasm of the period for technology and forward thinking. They also strongly refer to ship design of the period.

The current common name for the bridge ‘Knippelsbro’ dates back much further than the current structure. The name stems from Hans Knip who became bridge caretaker in 1641, and was in charge of operating the bridge and collecting tolls from passing ships. His house became known as Knippenshus and during the 17th century the bridge was known as Knippensbro. It is amazing to think that it is this persons name that traversed the centuries and retained its association when so many others, perhaps more relevant to the bridge of today,have passed into obscurity. Such are the quirks of the city.

Classical Facade on the Vesterbrogade

Oil on linen

24” X 56” (61cm X 142cm)

Available

This street is problematic for me. The road is very wide and therefore lacks intimacy, there are also big gaps between many of the buildings which does not help the continuity. For these reasons it is tiring to walk this street. The architecture along this avenue is eclectic to say the least and there are a significant number of monolithic buildings from the 60s, 70s and 80s that truly depress me. The street does however hold some gems. Next to the wonderful Axel Tower and opposite the beautiful Tivoli Gardens is this unassuming frontage. Dwarfed by modern signage as well as its significant neighbours and masked by trees this treasure remains. 

The beehive in the lower sector may seem an odd choice for depiction unless the first occupants of the building made or traded in honey, but in fact the beehive as well as bees themselves are often used in architectural decoration to represent ‘industrious achievement’, ‘flourishing business’ and ‘enterprise’, ‘working together to fulfil a common goal’.