Henning Koppel (1918-1981) Born in a wealthy Jewish family, he showed early on a talent for drawing and trained in both drawing and aquarelle with Bizzie Hoyer. He continued in sculpture with Anker Hoffmann at the RoyalDanishAcademy of fine arts and later at the Academie Rancon in Paris. His superb drafting skills, developed as a child, helped him all along his career to produce outstanding product renderings of his designs. Like other Danish Jews he fled to Sweden during the Second World War. In Sweden he worked for Svensk Ten were he developed his skills in cast metals, and in glass with Orrefors. He was 27 when he came back and although his education was neither in design nor in jewelry he joined Georg Jensen as a designer for jewelry, hollowware and cutlery. From the start his work in jewelry, hollowware and flatware was very organic and inspired by Calder, Arp and Brancusi.
Supported by a generous father he never understood well the relationship the modern movement made between function, affordability and production friendly design. He was always openly critical toward functionalism and unmoved by those critics who encouraged him to design more affordable products. "Functionalism has nothing to do with the art of forming silver" was one of his favorite expressions. Of his most famous piece, the silver pitcher for Georg Jensen, only 500 were produced and for Koppel 500 was an exceptionally high number.
Koppel also designed for Bing & Grondahl, ceramics for Saxbo, lighting and clocks for Louis Poulsen, Glass for Kastrup and the Swedish Orrefors. Kvetny & Sonner produced his furniture. He won the Lunning Prize in 1953, Gold medals at the Milan Triennale in 1951, 1954 and 1957 and the International Design Award of the American Institute of Interior Designers in 1963. In 1966 his cutlery, New York made by Georg Jensen was awarded the ID Prize, the accolade for Danish design.