My Houzz: Enter the Spectacular Home of Artist Bjørn Wiinblad
We tour the famed Danish ceramist’s remarkable home and studio, still full of his whimsical creations and collections
Bjørn Wiinblad. Photo by Lennard Nielsen
Bjørn Wiinblad is one of the most successful Danish artists in recent history. He is most famous for the distinctive ceramics he designed for Nymølle and Rosenthal, found today in homes around the world. He created everything from dinnerware to furniture, fountains to sculptures, and he furnished and decorated hotels, restaurants and cruise ships.
His style is about as far from typical Scandinavian minimalism as can be: colorful and adventurous, packed with detail and elaborate ornamentation. Some might say it’s “too much.” The same words could be used to describe the Blue House in Kongens Lyngby, outside Copenhagen, which Wiinblad bought in the early 1960s and set up to be both his workshop and home. He lived there until his death in 2006.
Houzz visited the residence, which has been preserved exactly as the artist left it and is open to the public for guided tours thanks to the sponsorship of the Danish Rosendahl Design Group (not to be confused with Rosenthal, the German porcelain company for which Wiinblad developed many of his designs).
Bjørn Wiinblad is one of the most successful Danish artists in recent history. He is most famous for the distinctive ceramics he designed for Nymølle and Rosenthal, found today in homes around the world. He created everything from dinnerware to furniture, fountains to sculptures, and he furnished and decorated hotels, restaurants and cruise ships.
His style is about as far from typical Scandinavian minimalism as can be: colorful and adventurous, packed with detail and elaborate ornamentation. Some might say it’s “too much.” The same words could be used to describe the Blue House in Kongens Lyngby, outside Copenhagen, which Wiinblad bought in the early 1960s and set up to be both his workshop and home. He lived there until his death in 2006.
Houzz visited the residence, which has been preserved exactly as the artist left it and is open to the public for guided tours thanks to the sponsorship of the Danish Rosendahl Design Group (not to be confused with Rosenthal, the German porcelain company for which Wiinblad developed many of his designs).
The blue clapboard home on a quiet side street in Lyngby is deceptively unassuming. It’s been the site of fashionable dinner parties for movie stars and royalty and houses spectacular art and antiques collections. It also holds works by the eccentric Wiinblad, along with personal mementos and objects that tell the tale of his journey to international fame.
It was at this drawing board — which boasts a view of the garden’s magnolia tree — that Wiinblad created thousands of his singular pieces, everything from figures and ceramic plaques to theater sets and costumes to Oriental-style tapestries and hotel decor. He was a prolific artist whose diverse works ranged from incredibly expensive and unique projects to mass-produced ashtrays.
The Blue House was far from a quiet artist’s oasis during Wiinblad’s time, according to chauffeur and aide René Schultz, who started working for him in 1978.
The Blue House was far from a quiet artist’s oasis during Wiinblad’s time, according to chauffeur and aide René Schultz, who started working for him in 1978.
“The place was full of activity, all the time. There were always four girls painting ceramics, and Bjørn had three assistants sitting upstairs typing up letters he had dictated — one assistant for the French letters, another for the English ones and a third for the German,” Schultz says. “Bjørn would draw the first lines and create the designs, but he got others to color them. He was a genuine designer and was surrounded by assistants.”
Wiinblad ceramics are painted at the Blue House in this and the next photo.
“We were all often invited to dinner in the evening,” Schultz says. “Then his housekeeper, Ms. Jørgensen, would cook some wonderful food, which was a clever way of making us stay and work longer. After dinner, we would go back to work and stay until 11:00 or 11:30 in the evening, simply because it was cozy and nice to be there.”
Wiinblad was fully active in the creative process and controlled the decision-making, Schulz says. He oversaw whatever was happening in the drafting and painting rooms, here and at two other workshops he had in Denmark. Wiinblad ceramics are still painted and produced in the Blue House, though not at the rate seen during the height of his career in the ’60s and ’70s.
Wiinblad was fully active in the creative process and controlled the decision-making, Schulz says. He oversaw whatever was happening in the drafting and painting rooms, here and at two other workshops he had in Denmark. Wiinblad ceramics are still painted and produced in the Blue House, though not at the rate seen during the height of his career in the ’60s and ’70s.
Wiinblad’s work is even more impressive considering that he was also chief designer at the huge company Rosenthal.
“He was always working, day and night, and he slept probably one or two hours a night,” Schultz says. “It sounds incredible, but it is true.”
“He was always working, day and night, and he slept probably one or two hours a night,” Schultz says. “It sounds incredible, but it is true.”
Schultz, seen here, “temporarily” moved into the guest house at the Blue House in 1980, having nowhere else to stay. Today, he and his wife, Eva, still live in one of its annexes. He is responsible for daily operations and guided visits, while Eva is in charge of selling the handmade Wiinblad designs being produced in the house. (Mass-produced items are now made and managed by Rosendahl — see below.)
Wiinblad was something of an outsider among his Danish peers in the ’60s and ’70s, not only because of the style of his art but because his fellow artists disapproved of his non-Danish methods — relying on plenty of assistants — and his extravagant lifestyle. This is described by journalist Lars Hedebo Olsen in his recently published book, Bjørn Wiinblad — Life Artist. In an interview with Houzz, Olsen described Wiinblad’s style as “very flowery, full of light and happiness, often inspired by the East — and everything but minimalist and Scandinavian.
“He was not at all recognized by the design elite, and hardly anyone in the Danish design world would socialize with him. They saw his style as opulent and categorized him as somebody who could only draw pointed noses and colored surfaces,” Olsen says.
“He was not at all recognized by the design elite, and hardly anyone in the Danish design world would socialize with him. They saw his style as opulent and categorized him as somebody who could only draw pointed noses and colored surfaces,” Olsen says.
Wiinblad refused to succumb to the contempt. He defiantly showed up at the exhibitions of important Danish ceramic artists and bought their most expensive pieces to flaunt his wealth.
Although he had few friends among the Danish design elite, he was very popular in other high-society circles. “He socialized with Queen Ingrid and important ballet dancers like Vivi and Flemming Flindt,” Olsen says. “You could also find international celebrities among his friends, like Liza Minnelli, Arnold Schwarzenegger and Erica Jong. He went to parties with the Danish prime minister, Jens Otto Krag, and others from the political establishment and he personally knew members of the Iranian royal family. He knew people from all walks of life.”
Although he had few friends among the Danish design elite, he was very popular in other high-society circles. “He socialized with Queen Ingrid and important ballet dancers like Vivi and Flemming Flindt,” Olsen says. “You could also find international celebrities among his friends, like Liza Minnelli, Arnold Schwarzenegger and Erica Jong. He went to parties with the Danish prime minister, Jens Otto Krag, and others from the political establishment and he personally knew members of the Iranian royal family. He knew people from all walks of life.”
“Bjørn Wiinblad — Life Artist” was written by Lars Hedebo Olsen and recently published by Gyldendal. Photo from the Bjørn Wiinblad Fund
Just past Wiinblad’s workshop lies his equally remarkable private residence. This hallway covered in floral Sanderson wallpaper — even on the ceiling — is where Wiinblad would greet his many famous and lesser-known guests as they arrived at his legendary dinner parties.
The painting on the wall shows a 29-year-old Wiinblad in 1947, playing the flute. The artist had quite an ear for music, Schultz says.
The painting on the wall shows a 29-year-old Wiinblad in 1947, playing the flute. The artist had quite an ear for music, Schultz says.
Off the hall is the impressive dining area. If the Blue House takes its name from the color of the exterior, the dining room emphasizes Wiinblad’s signature shade just as much. Like much of the home, this room contains only a few of Wiinblad’s own works, but it clearly exhibits his lifelong passion for antique furniture and, most of all, art.
“Everything has been left exactly as it was when he was alive,” Schultz says. “There are a lot of both Danish ceramics and Japanese and Chinese porcelain. He was also a great collector of Dutch Delft porcelain, which is one of the finest kinds of porcelain.”
Wiinblad was such a keen collector that many antiques shops would let him have first refusal whenever they had items they knew he might find interesting. “They liked to have him as a client because if Bjørn wanted something, he never asked about the price, he just wanted it,” Schultz says.
Wiinblad was such a keen collector that many antiques shops would let him have first refusal whenever they had items they knew he might find interesting. “They liked to have him as a client because if Bjørn wanted something, he never asked about the price, he just wanted it,” Schultz says.
One day, while having lunch with Schultz and the other employees, Wiinblad had a long telephone conversation with a Dutch antiques dealer. “He realized that she was in possession of a crazily rare Delft clock that he was missing for his dining room collection,” Schultz says. “After hanging up, he looked at me and said, ‘Why don’t we just leave immediately?’ So we drove to Amsterdam, where he confirmed that it was the right clock. He bought it and we wrapped it in blankets, put it in the Porsche, and drove home again.”
The clock (not pictured) has been hanging in the dining room for 30 years. “The clock has never stopped working, but that was not what he was interested in,” Schultz says. “He just needed to own that clock regardless of whether it worked.”
The clock (not pictured) has been hanging in the dining room for 30 years. “The clock has never stopped working, but that was not what he was interested in,” Schultz says. “He just needed to own that clock regardless of whether it worked.”
Stairs lead from the hall to the second floor, where guests were served a welcome drink before dinner.
“He drank very little alcohol himself because he worked so much that he did not have time to get tired or rest,” Schultz says. “So the wine was always watered down. When the welcome drink was Champagne, it was served with cucumber pieces in the glasses, so that the cucumber would absorb the bubbles. He could not stand the bubbles in the Champagne.”
“He drank very little alcohol himself because he worked so much that he did not have time to get tired or rest,” Schultz says. “So the wine was always watered down. When the welcome drink was Champagne, it was served with cucumber pieces in the glasses, so that the cucumber would absorb the bubbles. He could not stand the bubbles in the Champagne.”
The decoration and collections in the dining room may be impressive, but they’re nothing compared with the 3,800 square feet of private living rooms and bedrooms on the second floor.
The numerous rooms, corridors and secret nooks behind concealed doorways are all packed with antique furniture, precious works of art, Chinese porcelain and thousands of books, including several first editions, and even Charles Dickens’ ink pot. The items are a testament not only to Wiinblad’s discerning eye as a collector, but to his exceptional wealth.
The numerous rooms, corridors and secret nooks behind concealed doorways are all packed with antique furniture, precious works of art, Chinese porcelain and thousands of books, including several first editions, and even Charles Dickens’ ink pot. The items are a testament not only to Wiinblad’s discerning eye as a collector, but to his exceptional wealth.
“He earned tremendous amounts of money. He was not married and had no children, so he spent millions on decorating his home,” Schultz says, adding that Wiinblad always carried a bag full of cash in case he was tempted by art or antiques.
The artist’s wealth is further underscored by the fact that the Blue House was only one of his homes. For many years he lived primarily in Switzerland but had several homes in Denmark and Germany; a residence in Salzburg and elsewhere in Austria; an apartment in Rome; and, at one time, two apartments in Marbella, in the south of Spain, and an apartment in Paris.
The artist’s wealth is further underscored by the fact that the Blue House was only one of his homes. For many years he lived primarily in Switzerland but had several homes in Denmark and Germany; a residence in Salzburg and elsewhere in Austria; an apartment in Rome; and, at one time, two apartments in Marbella, in the south of Spain, and an apartment in Paris.
“His homes were like his dens, where he could concentrate on art, literature and music,” Olsen says, noting that the homes are good reflections of Wiinblad and his art, because “there would always be more and more of everything everywhere and nothing was simple.”
“He was earning extreme amounts money,” Olsen says. “He was very wealthy. Yet at the same time, he spent incredibly large sums and he was very generous. He shared his money, his possessions and his wealth. This also meant that when he died, nothing was actually left of it. He was a truly clever businessman but never a money grabber.”
“He was earning extreme amounts money,” Olsen says. “He was very wealthy. Yet at the same time, he spent incredibly large sums and he was very generous. He shared his money, his possessions and his wealth. This also meant that when he died, nothing was actually left of it. He was a truly clever businessman but never a money grabber.”
Schultz believes that Wiinblad ultimately cared little about money and business. “He was not interested in money as such. Once, he was asked whether he would decorate an American cruise ship, and when he told some of his friends about this, he said, ‘To think that those Americans just passed by and offered me $1 million on the spot!’ — but when his friends asked him whether it was a million dollars or Danish kroner, he replied, ‘Um, I really don’t know,’ ” Schultz says.
In many ways, Wiinblad lived in his own world. He didn’t own a television because he knew he wouldn’t be able to sit and watch news about death and destruction one minute and then create birds and harps in dreamy fantasy worlds the next.
“On the other hand, in every residence he had a studio, so he was able to work no matter where he was,” Schultz says. “He always listened to classical music. He was definitely not interested in either politics or religion. He did not believe in anything as much as himself.”
“On the other hand, in every residence he had a studio, so he was able to work no matter where he was,” Schultz says. “He always listened to classical music. He was definitely not interested in either politics or religion. He did not believe in anything as much as himself.”
According to former employees at the Blue House, there’s no doubt that Wiinblad had a special aura about him. Even after his death, they said, they felt his presence in the house. “The beautiful tiles in the ceiling of the yellow room used to also hang in the conservatory, but the very day of his funeral they fell down after having hung there for more than 15 years. They said that it was Bjørn jumping on the roof,” Schultz says.
The blue and white that are so characteristic of Wiinblad’s work also feature in his bedroom, which has a distinctive four-poster bed purchased from a friend, the famous Copenhagen baker Reinh van Hauen, who was also a passionate antiques collector.
Beyond the bedroom lies a dressing room, which was deemed too private to be photographed. A peek inside revealed a bounty of clothing and shoes — another of Wiinblad’s cherished collections. Hundreds of designer ties are on display, and opening any of the several closets reveals tailored suits, silk shirts and numerous handmade Italian shoes. Naturally, items are arranged by color, so there’s one closet with black shoes, one with blue shoes, a closet with gray suits, another one with brown shirts and so on.
“But he never traveled with clothes,” Schultz says. “When he needed something new he called the tailor, Mr. Olsen, and ordered seven identical suits, in order to have the same wardrobe in all his homes. He was always a super stylish and nicely dressed gentleman.”
“But he never traveled with clothes,” Schultz says. “When he needed something new he called the tailor, Mr. Olsen, and ordered seven identical suits, in order to have the same wardrobe in all his homes. He was always a super stylish and nicely dressed gentleman.”
Although Wiinblad displayed very little of his own art in his living spaces, his works found their way to countless homes all over the world, especially during the ’60s and ’70s. While interest in his distinctive, colorful and imaginative designs cooled in the ’80s and ’90s, it has seen a resurgence in recent years. This is due in no small part to the fact that the Rosendahl Design Group has relaunched collections featuring new interpretations of Wiinblad’s designs.
Photo from Bjørn Wiinblad Denmark
“Bjørn Wiinblad’s design is so interesting because it is totally unlike anything else. He has his own style. Every work is completely full: There is never an undecorated corner, and every drawing contains many stories,” says David Andersen, creative director of the Rosendahl Design Group, which is reproducing Wiinblad’s designs under the Bjørn Wiinblad Denmark name.
Cutting board: Bjørn Wiinblad Denmark
“Bjørn Wiinblad’s design is so interesting because it is totally unlike anything else. He has his own style. Every work is completely full: There is never an undecorated corner, and every drawing contains many stories,” says David Andersen, creative director of the Rosendahl Design Group, which is reproducing Wiinblad’s designs under the Bjørn Wiinblad Denmark name.
Cutting board: Bjørn Wiinblad Denmark
A portion of the proceeds from each new product goes to the Bjørn Wiinblad Fund, to maintain the Blue House and to keep alive Wiinblad’s dream: that the house one day become a working museum for young artists.
Photo from Bjørn Wiinblad Denmark
So far, two of Wiinblad’s most iconic works, Rosamunde and Felicia, have been reproduced, on everything from cups and vases to oven mitts, cookie jars and candleholders. “The new Wiinblad items are especially popular in Denmark, Sweden and Germany,” Andersen says, adding that more products are coming. “There is an extremely large backlist and thousands of options,” says Andersen, himself a great lover of Wiinblad’s style, in part because it is simultaneously serious and comical.
Tiered tray: Bjørn Wiinblad Denmark
So far, two of Wiinblad’s most iconic works, Rosamunde and Felicia, have been reproduced, on everything from cups and vases to oven mitts, cookie jars and candleholders. “The new Wiinblad items are especially popular in Denmark, Sweden and Germany,” Andersen says, adding that more products are coming. “There is an extremely large backlist and thousands of options,” says Andersen, himself a great lover of Wiinblad’s style, in part because it is simultaneously serious and comical.
Tiered tray: Bjørn Wiinblad Denmark
Photo from Bjørn Wiinblad Denmark
One of the special things about working with Wiinblad’s designs, Andersen says, is that a large number of customers are familiar with his work while the new, younger fans have no idea who he is.
One of the special things about working with Wiinblad’s designs, Andersen says, is that a large number of customers are familiar with his work while the new, younger fans have no idea who he is.
Biographer Olsen says the renewed demand follows naturally from the fact that people’s homes are becoming increasingly characterized by cultural influences. “Streamlined is out. We want decorations, something not very practical, with an air of handicraft,” he says. “This is exactly the case with Wiinblad’s things. I think there is a place for him today because what he offers is right between Oriental and fun and colorful.”
But he sees a risk in ending up with Wiinblad overload: “His design is so overwhelming and always on the border between sweet, fun and innocent and the edge of bad taste,” he says.
But he sees a risk in ending up with Wiinblad overload: “His design is so overwhelming and always on the border between sweet, fun and innocent and the edge of bad taste,” he says.
The Wiinblad resurgence has been a welcome windfall for the Blue House, a place that Schultz describes as a unique spot where fans of the artist can truly immerse themselves in his world.
“Spirit,” Schultz says. “The Blue House is still full of spirit.”
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“Spirit,” Schultz says. “The Blue House is still full of spirit.”
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Houzz at a Glance
Who lived here: Danish artist Bjørn Wiinblad (1918-2006). The Blue House is owned by the Bjørn Wiinblad Fund. Wiinblad’s longtime chauffeur and right-hand man, René Schultz, is responsible for its day-to-day care, as well as for guided visits.
Location: Kongens Lyngby, about 9 miles north of Copenhagen, Denmark
Size: About 7,500 square feet (700 square meters) over two floors, with a drafting room, workshop and private residence
Visit the Blue House: The shop and workshop are open to visitors Tuesdays from 10 a.m. to midnight, March 1 to Oct. 31. Guided tours of the rest of the house are available for groups of 16 or more and must be booked ahead of time.