An Interview with Kjeld von Folsach, Director of the David Collection
The David Collection in Copenhagen, Denmark, was founded in 1945 by the prominent lawyer Christian Ludvig David (1878–1960). The collection, consisting of three main categories—Islamic art, 18th century European art and Danish early modern art—is housed in the building that was once his residence and a neighbouring property acquired in 1986. It is entirely funded by private means through the C. L. David Foundation and Collection, which also supports other institutions, excavations and publications. In his role as director since 1985, Kjeld von Folsach has overseen the strengthening of the collection and the total renovation and reinstallation of the museum. We speak to him about the evolution of the collection and future plans for the museum.
Orientations How did the private collection of Christian Ludvig David shape the focus of the David Collection?
Kjeld von Folsach The museum’s current composition still reflects Mr. David’s interests, although it is very different from the collection he left. All three collecting areas were created by him. The Danish early modern art was most likely purchased to furnish his apartment, and these pieces were not acquired in a systematic way. David bought what he liked. But what he really loved was European 18th century decorative art, such as ceramics, silver, furniture and, to some extent, paintings, both European and Danish. This was quite typical of the mid-20th century, a period during which many great collections of 18th century art were formed in Europe and the US. He also had a small collection of Islamic pottery and carpets, but this was not his main focus. Since then, the museum’s collecting priorities have changed.
Kjeld von Folsach
The David Collection
Photograph: Pernille Klemp
O What story is presented to visitors by the three collecting areas of the museum?
KvF We keep the three collections quite separate. The 18th century European art is shown in period rooms refurbished in such a way that many visitors believe these were the specific rooms Mr. David actually lived in. The Danish early modern art, in contrast, is shown in a more minimalistic setting that is also used for special exhibitions. This group of works has hardly been augmented since David’s time, while the now large Islamic collection is shown in a custom-created and quite varied museum interior.
O How does the collection position itself in Scandinavia?
KvF We belong to a group of relatively small house museums which show their collections in a home-like atmosphere. The museum building dates to around 1800, so the 18th century material fits nicely into the ambience. We emphasize ‘exceptional design’ and really try to concentrate on high-quality craftsmanship and aesthetics. As a private institution, we don’t have the obligation to represent all social strata, like our National Museum for example, and this is an important point. Instead, our collections reflect the taste of the top tier of society—the place where most artistic innovations originated.
The Islamic collection, which is by far the most important, is what really makes us special. It is built up in an encyclopaedic way and covers most areas and periods, from the early beginnings up to 1850. There are very interesting examples of Islamic art in other institutions in Denmark and Sweden but not comprehensive presentations. Our museum ranks among the top ten public collections of Islamic art in the Western world (not including the Muslim countries).
European 18th century art, English furniture, Meissen porcelain and French faience
Photograph: Pernille Klemp
O The David Collection has expanded its Islamic art extensively since the 1960s. What is the connection between Denmark and the Islamic world, and has the reception of Asian art changed over the years?
KvF A museum was already created when Mr. David died, but it was entirely left to the board and the first director, André Leth, to decide in what direction it should develop. It was obviously not a good idea to build on the holdings of Danish early modern art. There were already great collections spread all over Denmark, so why compete? There were also fine collections of 18th century European decorative art throughout Europe and Scandinavia. So it was a deliberate move to concentrate on a field that was hardly represented in Scandinavia. Previously, if you wanted to have an idea of Islamic art, you needed to go to St. Petersburg, Berlin, London or Paris.
We consider Islam one of the great cultures of the world and feel, consequently, that it is only natural and right that Islamic art is well represented and accessible in our region. But interestingly, the topic has turned even more relevant with time. The Muslim population in Denmark, a country of six million, has grown since the 1980s and today there are about 250,000 from different parts of the Middle East. This has created a growing interest in and curiosity about Islamic art—partly from the old population and partly from the new. If you come to Denmark from Morocco, you will, for example, not necessarily be aware of the Muslim culture of Mughal India. When I started in the museum in 1984 we had around 8,000 to 10,000 visitors annually. After the rebuilding in 2009 the numbers increased substantially, and before the Covid crisis we had 75,000 to 80,000 visitors, with half of them coming in from abroad.
Carpet weight
China, around 1700
Porcelain, painted dark blue under a transparent glaze and covered with famille verte enamels in black, green, red, yellow, and blue as well as with gilding, height 14.2 cm, width 12.4 cm, diameter of dome 8.4 cm
The David Collection (5/2019)
Medallion
Iraq or western Iran, 1st half of 14th century
Tapestry, silk and gilded lamella of animal substrate spun around cotton, diameter 69 cm
The David Collection (30/1995)
O How has the museum maintained its engagement with and relevance to its audience during the Covid pandemic?
KvF Luckily the museum has been open most of the time, but it is closed as we are talking. We have tried not to reinvent ourselves too much. I noticed a number of museums have started different kinds of online programs. However, we strongly believe that the meaning and purpose of a museum is for people to come and see real objects, and I find it very depressing that physical meetings are being substituted with media. There should be a direct rapport or confrontation between the art and the visitor. So we are looking forward to live meetings when the pandemic, hopefully soon, has waned. None the less we are for the time being strengthening our website and this way making much more objects available on-line.
O What are the future plans of the David Collection?
KvF We are still acquiring on a rather active level. From 1961 to 1985 my predecessor rounded out the 18th century collections and bought a lot of English furniture and Sèvres and Meissen porcelain. In my 35 years as director, we have focused mainly on Islamic art and are just now trying to strengthen our holdings of miniature paintings. We are pleased that the David Collection has become a serious destination for people to gain a comprehensive overview of Islamic art. Additionally, however, the two European collections offer a variation appreciated by many of our visitors.
We have decided—at least for now—not to move into modern and contemporary Islamic art, as we simply neither have the space to show it nor the expertise to curate it. I feel that modern Islamic art should be presented in context with modern art from other regions of the world rather than with antiquities. Society has changed completely, and the modern art world is international.
What I would like is a bit more space! The two houses in Kronprinsessegade are listed and there are strict rules to their expansion, but I hope to cover one of the courtyards to create room for a small restaurant and an area where people can sit, relax, read, discuss or just take a break in between enjoying the art. Perhaps also a slightly bigger book shop.
Islamic collection, Muslim Spain and North Africa
Photograph: Pernille Klemp
Islamic collection, Open repository