Signe Steffensen
Handmade design traditions
Handmade design traditions since 1839
Kähler is part of the Rosendahl Design Group – a family of design icons that withstand endless use and admiration. The Kähler story began in 1839, and the handmade design traditions that have been developed since represent a modern and sensual tale of design, where everyone is welcome. Kähler is associated with a heritage of innovative glazes, creative designs and distinctive artistic collaborations.
Kähler builds on a long tradition of artistic collaborations and craft traditions and was founded in 1839 when Herman Kähler opened a ceramics workshop in Næstved. However, it was only when his son, Herman A. Kähler, joined the workshop that it became world famous for unique designs and artistic ceramics.
Since its foundation more than 180 years ago, Kähler has been known for its classic handmade design traditions. To this day, we still honour this heritage and clear reproductions of the present built on the past.
Even though Kähler has grown as a design collective with a wealth of related artists, the philosophy and approach remains the same as it has always been, namely that we continue to work with some of today’s greatest designers and craftsmen.
Craftsmanship, creativity and artistic collaborations have been part of Kähler’s DNA since the beginning. And they still are. It's what has made Kähler an iconic ceramic brand, one which has charted the course of Danish ceramic design.
We create all our products based on Kähler’s handmade design traditions. We've always done that - and we always will.
A unique design adventure that began in 1839
As early as 1889, Kähler’s ceramics impress at the World Exhibition in Paris, the same year the Eiffel Tower was built. With the production of international art ceramics, the foundation is laid for one of the greatest successes in ceramic history, one that is still presented at exhibitions and museums all over the world today – and a success that continues to shape a popular, forward-looking and innovative design brand.
Kähler family
1808–1884 – Herman Joachim Kähler
Herman J. Kähler immigrates from northern Germany to Næstved in 1839. Shortly after his arrival in 1839, he starts his pottery at Kindhestegade in Næstved, where the story of Kähler begins.
Herman J. Kähler is a trained potter, and using old traditions he sticks to making utensils such as milk dishes, maternity buckets and jam jars, etc. However, it is for his production of stoves that he receives the greatest recognition. Herman J. Kähler runs Kähler from 1839 to 1872. During this period, he has seven children, of whom the two sons, Herman August and Carl Frederik, will continue to run the company.
When Herman J. Kähler retired in 1872, his sons Herman August Kähler and Carl Frederik Kähler took over the company. Carl Frederik continued ceramic production in Næstved, but it was Herman August that put the Kähler ceramic on the world map.
1846-1917 – Herman August Kähler
After completing his apprenticeship with his father, Herman August is taught glaze painting at Holmegaard Glasværk, then travels around Europe and works in workshops in Berlin, Strasbourg and Paris. In 1867, he returns to Næstved full of impressions and inspiration. Now he is ready to take over the workshop.
Already in 1875, he built a new workshop at Kählersbakken in Næstved. This is where he really starts to try his hand at artistic design and experiment with the glazes. This artistic venture attracts many well-known Danish artists, and it was Herman August that started the artistic colony in Næstved. The glazed colours became his signature – especially the red lustre. Normally, this was only used for decoration, but at the world exhibition in Paris in 1889, he put up a product completely dipped in the metallic red lustre glaze. Together with his signature, HAK, the red lustre became Kähler’s trademark.
It was also man-of-the-world Herman August Kähler who generated international interest in Kähler Keramik. He attended exhibitions around the world, generating interest from retailers and museums in Paris, New York, Chicago, Malmo, Stockholm, Brussels, Berlin and San Francisco. Herman August had a major impact on the Kähler workshop. To this day, his initials, HAK, are stamped at the bottom of all Kähler products.
1876–1940 – Herman H.C. Kähler
In 1917, Herman H.C. Kähler takes over the company from his father, Herman August Kähler. Time and tastes have changed, and figures such as lions eating lunch or unshaped vases and pots in bright colours are less in demand. Instead, Herman H.C. returns to the old pottery traditions and starts producing wheel-turned objects decorated with the old technique of horn painting. His style was beautiful, and marked by his own personal interpretation.
Herman H.C.'s great strength was that he managed to inspire and encourage the talented women who painted the ceramics to challenge the various decoration techniques. It was the horn-painted split decorations in particular that characterised the works of Kähler in the time under Herman H.C. Yet, despite the fact that he was one of the Kähler family's greatest designers, and it was his artistic imagination that launched the workshop into horn-painted split decorations, his reputation that followed in the years to come seemed less brilliant.
It is why Herman H.C. is not considered to be a particularly distinctive person in the Kähler history, perhaps because he had difficulty living up to his father, Herman August Kähler's big legacy. Moreover, there were also many great artists in the workshop during the same period, and they were not as reserved as Herman H.C. Kähler.
1906–1979 & 1904–1996 – Nils Kähler & Herman Jørgen Kähler
Nils Kähler and his brother Herman Jørgen Kähler take over the factory in 1940. It will be the last generation of the Kähler family that runs the company. Both brothers work as designers, but largely Nils takes over the artistic function and Herman J. the administrative and practical function.
In 1931, Nils replaced the workshop’s old wheel. Here he developed a passion for wheel-turning large vases. Initially just for fun, Nils starts modelling piggy banks and other animals made on the wheel. Usually it was a job for an apprentice, but the idea of animals as a collector’s item was taken seriously and put into production. These animals became some of Kähler’s most popular products. The animals allowed Nils to indulge his preference for ceramics decoration with slipped horn painting and lead glaze.
Nils Kähler had a special talent for following the design trends of the time, which is evident from his production. Even though he was very enthusiastic about old art of pottery, the production was characterised by simple designs. He made designer objects such as ashtrays, vases, jugs and lamp feet for Le Klint lamps. They were made out of stoneware, raw with no glazing, with his preferred salt glaze or the strong turquoise colour.
The era as a family-run company with the fourth generation of the Kähler family ended in 1974.
Kähler artists
In the 1800s and 1900s, the historic Kähler workshop became a gathering place for many of the era's greatest Danish artists. People like Thorvald Bindesbøll, Svend Hammershøi and Kai Nielsen all made their mark on what today forms the DNA of Kähler’s design. Read about some of the great artists who used to meet up at Kähler’s historic workshop here.
1857–1942 – Hans Andersen Brendekilde
Brendekilde decorated the vases and bowls that H.A. Kähler turned on the wheel – mainly with flowers, animals and fairytale characters. The greatest impact Brendekilde had on the Kähler workshop was probably his artistic energy and the circle of other artists he attracted. Brendekilde worked with Kähler until 1907.
1854–1933 – Laurids Andersen Ring
Laurids Andersen, also known as L.A. Ring, named after the birth town of the southern Ring of Næstved. Ring was part of Brendekilde's circle of artist friends at the end of the 19th century. He painted landscape paintings and lived for a short time with Brendekilde. This was how he was introduced to Kähler for the first time. Ring was excited to try out ceramics as a material, but his ceramic career was limited to 10 to 12 pieces and would never have much impact on Kähler.
Like Brendekilde, Ring’s greatest importance to the Kähler workshop were his cultural contacts. Ring married H.A. Kähler’s daughter, Sigrid Kähler, thus becoming part of the regular circle of artists around Kähler. He often painted situations from the workshop and family. One example is the painting “Lamp Light”, which depicts his wife Sigrid, and a lamp base with octopus arms. It is said that the lamp base was his own work. The picture now hangs in the National Gallery of Denmark.
1863-1929 – Karl Hansen Reistrup
Some of his first animal vases were sold at the World Exhibition in Paris in 1889. Over time, Reistrup would become booked up with large decoration works around the country, but he would continue to return to the Kähler workshop.
1846-1908 – Thorvald Bindesbøll
Architect Thorvald Bindesbøll spent a short time in the Kähler workshop, namely in the years 1890 and 1891. It’s was the artist L.A. Ring that lured him to Næstved. The stay at Kähler took place over two periods during those years. But none of the products he made during this time would be called masterpieces. The best result he left behind was probably an earthenware pot with graphite decoration and a slip decoration. It is currently on display at the Danish Museum of Art and Design. During his second stint at Kähler’s workshop, Bindesbøll made an altar for Herning Church. This was made of glazed earthenware. Even though Bindesbøll’s stay at Kähler was brief, he kept in contact with Kähler for a long time afterwards.
1873-1948 – Svend Hammershøi
The first time Hammershøi visited Kähler, his most important goal was to learn the art of shaping, which is why he stuck to working with the wheel. But since he only worked for Kähler from 1904, he left the real craftsmanship to the masters. A typical characteristic of Hammershøi’s pots and bowls is the powerful horizontal and vertical profiling. These are repeated throughout his entire production.
During his time at Kähler, Hammershøi revived terracota ceramics, the unglazed, burnt red clay that, for example, was “muffle-burned”. This means that the object would fired in the oven together with sawdust, a technique that produced a smoked surface. After a few years in the workshop, it was large pots and floor vases in unglazed red clay that caught his interest. He loved to turn these by hand to give them just the right look. This greatly appealed to the master of the time, Nils Kähler, who loved to turn large objects. Another thing you associate with Hammershøi’s work is the white-grey-black works. These were created in collaboration with Jens Thirslund.
Hammershøi had an invaluable impact on Kähler’s workshop and its development over the course of its life. Today, the inspiration from his work lives on in the Hammershøi series. Kähler’s current logo, HAK, which adorns all Kähler products, was also designed by Hammershøi.
1882-1924 – Kai Nielsen
The sculptor Kai Nielsen visited Kähler for the first time in 1921. This was just three years before his death. During this time, he was extremely productive, but many of his works were discarded because he was so self-critical. His ambition was to reach all people. He would rather sell his works and produce them in thousands of copies than have them exhibited in museums. So instead, he made many small figures to spread awareness of his art. And this boosted his earnings.
In collaboration with Thirslund, Nielsen started a major production of figures in 1922. These were made from old bronze moulds, which were previously used to cast bronze moulds. And the names of the figurines were just as inventive as the production method: The Sloth, Susanne in the bath, the Princess and the pea, Eva on the apple, Nina on the ball and the Globetrotter are just a few of them. The figurines became hugely popular both in Denmark and abroad. A dealer from San Francisco brought the “Princess on the Pea” home from a trip and displayed it in his store. But an American women’s organisation showed a lot of resistance to the “The Princess of the Pea” as they believed the figurine was sticking her belly out too much.
1892-1942 – Jens Thirslund
The majority of Thirslund’s production was wall tiles. These patterned, primed tiles were produced extensively in the workshop. Thirslund had a great passion for ceramics, and this is what led him to explore lustre firing. He spent many nighttime hours deep in soot and smoke to explore this way of firing. This is how he came up with the black and white glaze used to decorate many of Hammershøi’s works. In addition to his work at the workshop, Thirslund also participated in many international exhibitions. He had separate exhibitions in Amsterdam and New York, but also took part in other exhibitions in Paris, Switzerland, Spain, Sweden and Belgium.
Jens Thirslund was an important person for Kähler history. In addition to his own works, he was an entrepreneur, developer and source of inspiration for many of the other artists, including Svend Hammershøi and Kai Nielsen.
Kähler - handmade and traditional Danish design ceramics since 1839
Kähler is a celebration of almost 200 years of well-preserved craftsmanship, but it is also a powerful reinterpretation of the present. Craftsmanship, creativity and artistic collaborations have been part of Kähler’s DNA since the beginning. And they still are. This has made Kähler an iconic ceramic brand that has charted the course for democratic Danish ceramics.
Today, one of the hallmarks of Kähler is that we are forward-looking and innovative. But when we look ahead and create new classics, it is always with feet firmly planted in our ceramic craftsmanship traditions and history, where authenticity, art and creativity are essential. We take pride in understanding the times we live in, while being able to look ahead to stay ahead of new trends. This is why we are able to introduce new, exciting products and updates of everlasting classics.
Kähler's design collective
In Kähler’s workshop, it was the special design collective that helped create and encapsulate Kähler’s unique DNA. Each artist has left his mark, and that’s exactly what makes Kähler’s designs iconic today.
Over the years, the historic Kähler workshop was a meeting place for many of Denmark’s greatest artists, such as Thorvald Bindesbøll, Svend Hammershøi and Kai Nielsen. It was when Herman August Kähler built a new workshop at Kählersbakken in Næstved in 1875 that the artistic experiments really took off. And it is precisely this artistic venture that attracted several famous Danish artists. This is how the artists colony started in Næstved.
Today, collaborations with the most distinctive and talented artists and design talents of our time continue, including the ceramic artists Meyer-Lavigne, the designer duo Stilleben, designer Hans Christian Bauer and artist Rikke Jacobsen.
Artists breed artists
Ever since Brendekilde became the first real artist to be employed, artists have joined year after year and contributed to Kähler’s DNA. Brendekilde was of great importance to the Kähler workshop not only for his designs but because he attracted a wide range of artists.
These included Svend Hammershøi, who would come to have an invaluable impact on Kähler’s workshop and its development. Today, Hammershøi’s iconic works live on in the Hammershøi series. Kähler’s current logo, HAK, which adorns all our products, was also designed by Hammershøi.
Craft traditions since 1839
Every contemporary Kähler design is a tribute to Kähler’s unique history and a celebration of the well-preserved craftsmanship, and it's also an imprint of current times.
Many of our ceramic designs are still based on craft traditions that go right back to when the Kähler adventure first began. Just as the skilled women ceramic painters at the old workshop in Kählersbakken hand-decorated the ceramics using cow horns, we still paint many of the designs by hand hand-cut the finer details and work with exciting glaze techniques. It is in the meeting between the precise and elegant brush strokes and the classic ceramics that Kähler’s unique design really comes into its own with its unique handmade look.
Handmade traditions
Over the years, a large number of different female ceramic painters worked for Kähler, all of whom had a unique personal style and talent. However, all of their work was sent out anonymously with only the well-known HAK logo at the bottom.
A number of skilled women worked at the Kähler workshop in the 1800s and 1900s. They had a very special talent for painting the ceramics that the artists produced. It was the ceramic painters who added the final touch and ensured that the ceramics in the old Kähler workshop were given a unique and charming handmade look.
Today, this tradition is evident in designs such as the hand-painted Omaggio Nuovo vase series. The series represents a revival of the well-known Omaggio series, which is one of the most iconic vase series in Danish design and interiors today. The vase designers looked back at the old Kähler traditions for inspiration to find new versions of the well-known stripes. The hand-painted stripes add depth and life to the vase and are evidence of the fine craftsmanship behind each vase.
Get to know three of the historic ceramic painters here
Our foundation
Kähler is built on a number of core values and beliefs. They make up the foundation on which we run our brand, design and product development. They are the building blocks that have over the years ensured that we have been able to create designs that last and that constantly match Danes' taste.
At Kähler, we strive every day to unite our unique cultural heritage with our ambition to be a leader on the arts scene, nationally and internationally. We take the best from an artistic ceramic legacy and reinterpret it with a nod to current times.
Our special characteristics
Delivery within 1–8 business days
Free shipping on orders from € 85
30-day return policy
Free gift wrapping with purchases from € 80
We preserve and develop Danish design icons so that both present and future products can be part of the brands that have helped create our Danish design culture.