The Quiet Presence of Kronprinsessegade
Located in Copenhagen, Denmark, the David Collection occupies a space that was once a private residence. The building at Kronprinsessegade 30 carries the weight of its history, having been originally purchased in 1810 by C. N. David. It was later re-acquired by C. L. David, who lived within these walls and eventually opened the upper floors to the public. The architecture reflects this transition from a domestic sanctuary to a space of cultural preservation. The atmosphere remains intimate, shaped by the original purpose of the structure and the careful rearrangement of its contents.
The collection is defined by its breadth and its specific focus on the Islamic world. It spans from the 7th to the 19th century, covering a vast geography that stretches from Spain in the west to India in the east. These objects are presented through various lenses, including chronological sequences and material types. The presence of these works provides a window into both religious and secular contexts from diverse cultures.
Artistic Holdings and Materiality
The museum houses a significant variety of media and eras. The selection includes works from the Danish Golden Age and European art from the 18th century. Within the halls, one finds a specific focus on the following:
- Islamic miniatures housed in a dedicated gallery designed by Vilhelm Wohlert.
- Porcelain displayed in rooms designed by Kaare Klint, featuring Douglas fir walls.
- Chippendale furniture and works by David Roentgen.
- Danish early modern art and ceramics from the late 19th to mid-20th century.
The Danish Golden Age is represented through works such as those by Christoffer Wilhelm Eckersberg, including Frederik von Lowzow (1817) and The Model Emilie (1813). Other notable pieces include Portrait of Queen Louise of Denmark, married to King Frederik V. (1750) by Peder Als and Still life with ham and mustard pot (1635) by Pieter Claesz. The collection also contains landscapes and portraits that reflect the shifting aesthetics of the 19th century.
A Legacy of Private Stewardship
The current state of the institution is the result of a long history of private accumulation and eventual public dedication. After C. L. David passed away, the foundation became the sole heir to his fortune. This transition ensured that the collection remained intact. The building itself has undergone significant changes, including a major refurbishment and rearrangement between 2006 and 2009. This period of renewal allowed for a new organization of the galleries, ensuring the works are viewed in a way that respects their historical and cultural origins.
