For collectors, an important aspect of Jensen’s earliest work is the fineness of the silver, which varied from 826 to 830 to 925 (sterling). It wasn’t until 1933 that sterling silver was used exclusively at Jensen, which gives fans of his early work a clear way to date a vintage piece.

The Jensen silversmith shop, which also produced cutlery and hollowware, quickly made a name for itself throughout Scandinavia and Europe. Jensen had a growing following in the Unites States, too. His first North American exhibition in San Francisco, in 1915, generated several gold medals — newspaper magnate William Randolph Hearst even bought a couple of pieces.

But it was not until 1924, when Frederik Lunning opened a branch for Jensen in New York, that he became more widely known in the United States. Lunning introduced Americans to some of the most sought-after designers from Jensen’s pre-war years, including Sigvard Bernadotte, a Swedish prince, whose geometric and abstract designs marked a shift from Jensen’s Art Nouveau preferences.

Johan Rhode was another important early Jensen designer. His mathematically rigorous forms have been described as serene and sensitive, a logic-driven counterpoint to Jensen’s naturalistic tendencies. Other pre-war designers of note include Torun Bülow-Hübe, Bent Gabrielsen, Nanna and Jørgen Ditzel, Henning Koppel, Arno Malinowski, and Harald Nielsen, who was Jensen’s brother-in-law and whose elegant and refined ornamentation tended to Art Deco.

Although Lunning was one of the company’s greatest champions, he was also briefly one of its most troubling competitors. Silver shortages in Denmark during World War II had prompted Jensen designers to create a line called jernsølv, which means iron silver. To save their precious reserves of scarce silver, they used patinated iron for the body of a piece, with silver or gold as an inlay.

Lunning responded to the 1940s silver shortage in Copenhagen in an entirely different way: He hired designers such as Laurence Foss, Alphone La Paglia, and Joan Polsdorfer to create pieces for a new company called Georg Jensen U.S.A. This made the folks back in Copenhagen none too happy. Indeed, they disavowed any association with the American line, and from 1945-1951 marked their pieces "Georg Jensen & Wendel A/S Denmark" to ensure that the separation was abundantly clear to customers.

In fairness to Lunning, he was not the only one trying to profit from the Jensen name and the silver shortages across the pond. Even vintage costume jewelry company Coro got into the act, making cheap, die-stamped copies of Jensen designs.

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