00:01
Eva Jensen
I've chosen Landscape near Collioure by Henri Matisse. It's a study for The Joy of Life from 1905. It's a landscape, a forest glade, a clearing in the woods, painted in beautiful vibrant colors.

00:20
Eva Jensen
I am drawn in by the undulating lines, the tree trunks, the narrowed perspective view of the horizon in the distance, the movement and the rhythms in the composition. I'm drawn to the luminous colors and the atmosphere, the silent music. These elements are all part of what creates great architecture when it's well-designed, well-composed and built, materialized.

00:47
Eva Jensen
It's a study. It has more layers than a sketch. And as an architect, the development for an idea, the study of a vision from the invisible, the immeasurable, to the visible field, is an interesting open process. It's the beginning of a large artwork, and it carries a seed, the DNA, of a promise of something beautiful and exhilarating.

01:19
Tina Jøhnk Christensen
My name is Tina Jøhnk Christensen, and I'm the host of Danish Originals, a podcast series created in partnership with the American Friends of the National Gallery of Denmark and the National Gallery of Denmark. Our goal is to celebrate Danish creatives who have made a significant mark in the US.

01:37
Tina Jøhnk Christensen
Today, our guest is Eva Christine Jensen, a Danish architect. Welcome, Eva.

01:43
Eva Jensen
Thank you very much. Thanks for having me, Tina.

01:46
Tina Jøhnk Christensen
It's a pleasure having you here. As we can only see each other on the screen as we speak remotely, you are in New York and I am in Los Angeles. So I can only see parts of the room that you're in now, but it looks very stylish and organized. Where exactly are you and what does the rest of the room look like that I can't see?

02:07
Eva Jensen
Well, I'm on the island of Manhattan on the Upper East Side. And I am close by Central Park, Museum Mile, the Frick Collection, the Metropolitan. The Guggenheim is not too far either. And I'm here in my studio, full of computers and files, and I also still have an old drawing board. I don't draw so much by hand, but I still like to do it once in a while.

02:34
Eva Jensen
I have a Vitsœ shelving system that travels with me. And that was actually designed by Dieter Rams. Vitsœ actually was originally a Danish engineer that went to Germany and worked with Dieter Rams. And then I have a library adjacent to the studio space and production computers.

02:56
Tina Jøhnk Christensen
Thank you so much for explaining that to us so the listeners can get an idea of where you're at. It's a top location in New York, I have to say. So you're based in New York City. What did your day look like so far today? And what is an ordinary day in your life in the Big Apple like? Are your days alike, or do you have a very routine-free lifestyle?

03:21
Eva Jensen
Oh, I have a routine. You have to have a certain structure, I find, to keep up with whatever is coming at you during the day and evening. I wake up, and I have a very structured ritual with meditation and half an hour of yoga stretching. So that whole sort of ritual takes about an hour. If I was by the sea, I would have a swim, but here I'm at big rivers, so it's not happening.

03:51
Eva Jensen
Then I'm ready to have a cup of tea. When I first wake up, I do think about what's ahead of me. And then I get started. Today I was preparing different things before this interview, and also checking my emails. That happens first thing in the morning. And if not, I would start working, seeing what projects are happening, what meetings I have to go to.

04:15
Eva Jensen
Often I have to leave for a meeting, at 8:30 am, and be on a site at 9 o'clock. And I live close by where my projects are. So a lot of projects on Fifth Avenue, and around the park. It's convenient right now in this location.

04:31
Tina Jøhnk Christensen
You founded your own architecture and design studio in New York city in 2005. That's almost 20 years ago. What made you decide to do this?

04:43
Eva Jensen
I came first when I was in high school. I went to high school out in Berkeley, in San Francisco, with my family. My father was on sabbatical. So that was the first time I came to the US. Then the second time I sailed up the Intracoastal and the Atlantic coast and arrived, saw Lady Liberty, saw the whole New York, so got that whole greeting that any immigrant experiences.

05:08
Eva Jensen
And of course it made a big impression. I was quite young. I had just finished high school and was on a world tour. And I spent some time out on Shelter Island in the Hamptons that summer, and visited New York occasionally, and got that whole experience of metropolis and country very close by each other. And I found that contrast fascinating.

05:30
Tina Jøhnk Christensen
And maybe explain what the Hamptons are to those who don't know.

05:33
Eva Jensen
It's basically the east end of Long Island. And when you get to Montauk, you can't go any further. Back then, it was actually very much more country, and just beach, very much more simple beach cottages. It's a lot like the west coast of Denmark. You're out in the Atlantic, so the beaches are amazing. And the countryside used to, I mean, it's still beautiful, but much more built up now. Back then, it was still farm fields. Now it's more vineyards and houses.

06:03
Eva Jensen
But anyway, I went there. And then in '95, I won a green card in the lottery. I had graduated in '92 from the Royal Academy of Fine Arts School of Architecture in Copenhagen. And I taught there for three years. And in that process, I would say, encouraged by a friend, for fun, I participated in the lottery and I won.

06:24
Eva Jensen
So in '95, I had to go for the first time and as a professional. And I can tell you a little story that when I arrived then, I came to Grand Central and I looked up, it was kind of the blue hour. And I stood there and the immensity of the building masses above me was quite impressive.

06:50
Eva Jensen
And you have this blue light, you had the glimmering light from the buildings, from the skyscrapers in Midtown. And then you have the yellowish street lights and you had the classic steam from the manholes coming up. So it's a very New York scene.

07:06
Eva Jensen
And I stood there, dressed to take this in, but also a bit naked and getting ready to take a bite off the Big Apple, you could say. But I stayed only shortly, 'coz I was working in Copenhagen at that time.

07:21
Eva Jensen
And then by '97 is when I thought, okay, time to try this out. And initially I thought, for two to five years as a professional experience. But I did have a dream of starting my own architecture studio. So that stayed with me while I started working here. And I have to say when I came here and started working, I really went for it. And what motivates me is a desire to work hard, to succeed, to be exposed to interesting challenges and opportunities that come in a large country.

08:05
Tina Jøhnk Christensen
What were the challenges of having your own company in a metropolitan city like New York, which has a reputation of being rather cutthroat and tough?

08:15
Eva Jensen
New York is a thrilling city. The energy here, the majestic skyscrapers, the diversity. The city that never sleeps. I think the beauty is sometimes hidden. I mean, it's majestic in the skyscrapers, but beauty is sort of hidden. And when you uncover these shrines and explore them, that's interesting.

08:40
Eva Jensen
However, it is also a hard city. There's no doubt. And it's demanding living here. It's intense, which is why you have to keep a structured life on some level to work with that demand. I would say I was privileged in some ways. I mean, when I got here, I right away got into a niche of high-end residential and became a project architect. And I worked for two companies, three and a half years at each place.

09:10
Eva Jensen
First a very New York company that had a history because the partner, one of them, was the great grandson of Stanford White of McKim, Mead & White. So the office did have a lot of the McKim, Mead & White buildings to look after, or do projects, but also a lot of other important buildings in New York. But I did their high-end residential and was one of the few people in the office that ended up doing that.

09:33
Eva Jensen
I was not aligned with their design philosophy, I would say, as a Danish architect. And I sought out a boutique AD100 company, Shelton Mindel and Associates, and had a wonderful experience there doing high-end residential projects, in a sort of a Gesamtkunstwerk approach.

09:55
Tina Jøhnk Christensen
Maybe explain what Gesamtkunstwerk means.

09:59
Eva Jensen
So you do architecture interiors and curated furniture design and decorative arts, which is soups to nuts. It's a holistic, full design approach. So it's not like you have an architect and then you have a decorator. You as an architect take upon you to create the whole, in all levels from object to space, so that it's all speaking together, and there's a cohesive design philosophy, I would say, that carries through.

10:31
Eva Jensen
And the challenges working here, is that a lot of these high-end residential projects are fast track summer schedule projects. Especially working on Fifth Avenue. You're dealing with levels of building department regulation and landmarks preservation regulation, especially on Fifth Avenue around the park. It's become a very powerful organization now, as New York's getting more worried about their history and preserving that.

10:58
Eva Jensen
So, doing a project, you need a lot of planning, and you don't have a lot of time. So it's intense. And then executing, you have to be laser-focused. You have to collaborate, you have to communicate, you have to communicate a lot. I found my approach has been to be very hands-on, and the best thing is that we try for excellence. We try for delivery on budget, on schedule.

11:25
Eva Jensen
It is challenging because the logistics are, you can't just drive up and walk into the building. There's elevators, there's sizes of elevators, there's parking issues. There's a lot of parking tickets here. And then these time limits on when you can work and make noise. So you really have to execute, very planned, and very sequence-oriented. So it's a bit like a film production, in a way, those kinds of schedules.

11:56
Tina Jøhnk Christensen
So you're kind of a producer. What would you say you brought with you from Denmark in terms of your approach to your work and the way you work with architecture and design?

12:07
Eva Jensen
Well, Denmark has such a strong DNA, I should say, in relation to design and simplicity and timeless design. And I can carry on about how that came about, but we've had to economize with what we had in a small country, and have found a methodology that really, I think partly, with the landscape we're in, creates very strong and timeless design.

12:33
Eva Jensen
And I've brought that with me. I've brought the holistic approach, and also the foundation of humanities, to have empathy. Also, we're still — we like to all agree. We have a lot of discussions and we would agree, we have that democratic tradition in that sense as a small country.

12:56
Eva Jensen
So the way I run projects is, first of all, I like building up the teams, creating a great team that works with contractors, consultants, and then with my office in the back. I think collaboration and getting everybody on the same page for the goal, and working very focused, but not with the ego, trying to put that aside.

13:20
Eva Jensen
And maybe as a woman, I don't know, we work a bit differently, I really don't know. It's more, I think it's an approach where it's about finding the right solution.

13:31
Tina Jøhnk Christensen
And simplicity is a word that's often used to describe Danish architecture, design, and furniture. Why do you think Danes embrace the aesthetics, and why does it appeal to your American clients, if that's the case?

13:45
Eva Jensen
Well, I have to seek them out. But I have to say, it's changed a lot since I came. When I came, it was very exclusive to have simplicity. It was more a very selective, sophisticated clientele that dared go that path.

14:01
Eva Jensen
I would even say through IKEA coming out through the '90s and into the fabric of America, and just the Nordic influence worldwide, it's just become much more of a design to embrace and it works well for New York City because spaces are not always so big, but sometimes they are too.

14:21
Eva Jensen
How did that come about that we have that as a value? As I said, I think it comes from being a small country, and also, the landscape is not that dramatic. It's soft rolling hills. There's a huge horizon. We have a lot of sea around us. The light is important. We have the dark winters, we have the light.

14:41
Eva Jensen
So we of course have had to create atmosphere and human and cozy, the hygge spaces. So lighting, both designing with daylight and artificial light and the design of light fixtures has become a force and really, a trademark for us. And so has also designing buildings and furniture, because we've had to economize with what we have.

15:09
Eva Jensen
We don't have a lot of land. We don't have a lot of raw materials. We're very smart at working and designing with what we have, and we do that in a reductive, distilled approach that I very much embrace.

15:25
Tina Jøhnk Christensen
You've talked about infusing poetry to your design. Can you put words to what that means to you?

15:34
Eva Jensen
I can say what I think, but it's really about what I aspire to do for the clients or for the things, the furniture I design. And I hope it's received in that manner. I do believe that however you evolve and cultivate and refine yourself as a designer-creator, you are creating from the invisible.

15:59
Eva Jensen
You could say the invisible field, the unmeasurable field, gets translated into a measurable object or building or furniture design. And if you can create it so well that it has an immeasurable value and can give back, I think you've succeeded really well. So I do try for that. I aspire to that. Sculpting spaces is what architects do, but it has to be with atmosphere.

16:33
Eva Jensen
People should respond also directly emotionally, because that's what makes them feel comfortable. What is it I'm working towards, what is the meaning, the purpose? I think it is creating joy and delight for people, for a better life, with your objects, and connecting with culture and nature, but also being mindful of nature, especially in a sustainable manner. But I think that is something that's foundational, actually, for most architects. You want to make a positive impact.

17:06
Tina Jøhnk Christensen
Sustainability. How important is that?

17:08
Eva Jensen
It is important to me and I have a cottage project in Denmark where I'm experimenting. It's challenging to work with sustainability in high-end residential projects. The office has that side to it as a sort of laboratory. And we'll be experimenting more with it.

17:27
Eva Jensen
It's a work in progress, I will say. There's the LEED qualifications and different programs to set up standards. It's important, your mark on sustainability, as we get more and more challenged in the world.

17:40
Tina Jøhnk Christensen
You mentioned the Museum Mile and you're close to, for instance, the Guggenheim Museum. Talk about the importance of art, maybe as an inspiration for your work.

17:53
Eva Jensen
I have a close relationship to art in the sense that I've always gone to museums, to art museums. I grew up going to Louisiana in Denmark. And weekly, I'm either at art galleries or fairs or art museums. It's a very important part of my work to be informed and to just have that stimulation.

18:16
Eva Jensen
And I think it's also that stimulation that hopefully can create or be part of your poetic language, because it's the arts with science and technology that forms architecture. It's certainly not just done by art inspiration, but it's one of the three pillars.

18:35
Tina Jøhnk Christensen
You studied architecture at the Royal Academy of Fine Arts, and also at the Politecnico in Milan, in Italy. What kind of foundation did your education give you, and what were the most important lessons or principles or values you took away?

18:54
Eva Jensen
I loved going to the architecture school, but it was also challenging because a lot of it is self-study. I went to the Royal Academy of School of Architecture in Copenhagen when it was still at Charlottenborg Castle by Nyhavn and it was right in the city. We were meandering around and we had different study places scattered in that area.

19:16
Eva Jensen
I studied with great professors. Erik Christian Sørensen, I started studying with, he was very inspiring. He had a Modernistic, at times nearly Brutalistic view for the Roskilde Viking Museum, which is an amazing piece of architecture. But also some great lectures about landscape and placing buildings in landscape.

19:40
Eva Jensen
And he was also of the old school. He would always draw a croquis while he was still practicing architecture, which I thought was a very good habit to instill, it's a great way of showing how to observe and how to work.

19:57
Eva Jensen
But I will say, I went out and had a scholarship and went to Milan. And the Politecnico is ranked as one of the best architecture schools right now. It was a big school to come to. And I was learning Italian at the same time.

20:11
Eva Jensen
I had a very special experience. I studied, but I also worked. And I was very lucky to work with Angelo Mangiarotti, who is a world famous architect, one of the old masters from the Italian '50s. And he was both an architect and an artist.

20:29
Eva Jensen
In the end, when he couldn't do architecture, he was doing sculpture. And he also worked a lot with materials. So he became a mentor for me and was very important in my development. And I still have contact with his partner, Chiara. And there's an exhibition coming up in Switzerland celebrating him.

20:48
Eva Jensen
Coming back, I realized how spoiled we were in Copenhagen. The Copenhagen school has workshops, it's small, you have engineers available. So I really embraced my studies after and excelled. So that was just a great, great experience. So coming out gives you a new view and you get mentors, but coming back is also fantastic.

21:13
Tina Jøhnk Christensen
It's easier learning Italian, I find, because nobody really speaks English fluently in Italy, so you are forced to speak it.

21:23
Eva Jensen
And they want to teach you. You pronounce something wrong, then they tell you right away, no, no, no. And then they tell you how to do it and you're like, okay, thank you. And there you go. So I did learn it quite well by working because then there was no chance for any English, but yeah.

21:40
Tina Jøhnk Christensen
We know that you lived in Italy and the United States. Tell us about all the different places that you've lived in the world. What did you take away from each place?

21:50
Eva Jensen
My great grandfather went from Denmark to Germany, my grandfather went to England, so there is a history of us moving and experiencing other cultures.

22:01
Tina Jøhnk Christensen
Adventure people.

22:03
Eva Jensen
I grew up in Denmark, I'm definitely rooted in Denmark. First time I really traveled, my grandmother lived in Wales, in England, so I would travel to Wales. And that was fantastic, the Gower coast in the South of Wales is amazing. So that has a childhood impression on me that's very special.

22:23
Eva Jensen
Went to Scotland, also amazing landscape. Visited London, Germany briefly, Sweden, of course, Norway. The trip to the US with my family was the first time a new continent opened up to me and I saw especially the west coast of America. And I stayed half a year there in Berkeley.

22:43
Eva Jensen
And then the family traveled up along the coast. We drove up and camped on the way with a trailer. And then we moved to Saskatoon, Saskatchewan for half a year. So I really experienced the west coast and the prairies in one year, and went to high school, both places. And met a lot of different people, really lovely people, both places, beautiful nature, and of course, very diverse.

23:10
Eva Jensen
Denmark back then was quite homogenous, compared to now. When you go to Copenhagen, it's much more international, I would say. I came back and I was like, Oh my God, the only thing that's changed was the bus stop. It just adds to your cultivation as a person that you are exposed and you see other places.

23:33
Eva Jensen
It stayed with me.During my holiday vacations in gymnasium, I would always make sure to travel either in Denmark or in Europe. After graduating, I went on a two-year world tour. And I think there was an urge for me to see what this planet was, what did it look like.

23:52
Eva Jensen
And during that time, I also really had understood that I was going to go in the design direction, architecture direction. I ended up in Sydney and taking a course there. And then came back, enrolled for philosophy, did some film studies for a year, and then I started architecture school.

24:12
Eva Jensen
Seeing the world, seeing the culture, seeing — I was in Burma (Myanmar), I was crawling around on the pagodas. I saw the Sydney Opera every day for three months. That whole exposure to architecture and to landscape and to how people are living in the land, how they're organizing and living, that is, to me, a fantastic experience. The light, the colors, the whole thing. And it's still an inspiration for me.

24:42
Tina Jøhnk Christensen
So, you went all the way to Sydney to look at Danish architecture? I mean the Opera House, of course.

24:48
Eva Jensen
Yes, yes, 'coz that's what you have to do sometimes.

24:52
Tina Jøhnk Christensen
You mentioned that you have a summer house, a summer cottage, in Denmark. Where is that? And how often do you go to Denmark and what is your relationship to the country now that you no longer live there?

25:05
Eva Jensen
The cottage is on a small island in the Kattegat Sea. I can get there within about two hours, two and a half hours, from the airport. You have to get there by ferry. Just getting on the ferry is that rinsing process of just leaving things behind and going into a different space for a little while. That's very important for me because I spent my childhood summers there. And I really didn't know that I wanted to return.

25:37
Eva Jensen
But after living in New York for some time, I found that returning to Denmark was a good contrast. And I found what was the Hamptons synergy between the contrast of metropolis and countryside, I have set up between New York and Denmark now a little more. And the landscape is just, to me, I think there's something about what you've experienced in your childhood, something very known, was very nice. Denmark is still a very dear country to me. It was a need to experience once in a while.

26:11
Eva Jensen
I will say the relationship to Denmark has changed with how you evolve living here in New York. Because first you're just so thrilled to be here, and it's so exciting. And you're trying to figure out what this new environment is, and I was fully invested in it.

26:29
Eva Jensen
And after seven, ten years, you were realizing, I'm Danish, I'm here, where do I belong? You feel a loss, a little bit. I mean, you do go through these, you know, who am I? What is my culture? And then it just happened that my father was getting older, and had some health issues. And so I, by need, need to travel more to Denmark.

26:56
Eva Jensen
And so I got to know Denmark again. It was very different. And I was like, how do I do this? What's going on? But I relearned it, because things had changed. And I've also, in the last ten years, connected more. And now I feel I belong in both places. So I've gone through that process and I feel I'm happy here, I know it, I feel I belong here when I'm here. I'm very happy when I'm in Denmark.

27:24
Eva Jensen
I also chose to go to my childhood island, because there was a clear experience of having belonged there and there is a belonging to the landscape, to the light. I think when you leave, you go through these processes. For me now, it's important to create the synergy of the experiences of these cultures. That to me, is what I like to explore more.

27:47
Tina Jøhnk Christensen
Maybe I can see you from my summer cottage on the northern part of Funen, which, you know, has a view of Kattegat, so—

27:55
Eva Jensen
Maybe we should just, I'll be up by the lighthouse waving to you.

27:58
Tina Jøhnk Christensen
Exactly, that would be an idea. What does it mean for you to be Danish in New York? Is there a large Danish community there that helps you keep connected to your Danish roots? Or do you avoid this? Are there places where you can have your cravings satisfied in terms of Danish food, for instance? Talk about what it's like for you to be a Dane in New York.

28:21
Eva Jensen
Well, I mean —

28:23
Tina Jøhnk Christensen
All of a sudden I was thinking of that song, "I'm an Englishman in New York."

28:27
Eva Jensen
Yeah, yeah. Sting's song.

28:30
Tina Jøhnk Christensen
I don't know why that came to mind.

28:31
Eva Jensen
"Oh, I'm an alien." Yeah, but yes, it's so diverse. And there's so many people from everywhere. Being a Dane here, we're not that many people, but there are quite a few Danes in New York. I would say the first years, I had some good Danish friends that came in and out. Musicians, artists, and collectors, I would meet up with them when in town. So that was my connection directly back to Denmark.

28:57
Eva Jensen
But I really was working with mostly Americans, but also some Europeans or from the Caribbean. So I was very much focused on that and didn't have that much contact to a Danish expat community.

29:13
Eva Jensen
I would say, it evolves. Now, I have contact to people that work here, professionals that are Danish, both through the Consulate and also through AFSMK. There's some good events that allow for that. And there's some good connections made that are interesting. I like the mix of embracing people where they come from. So it's always interesting.

29:39
Eva Jensen
And for taste buds, yes, I think Rugbrød, the dark bread, is probably the most important. And that you can get in a lot of stores. I do know of a bakery in the East Village that should be extremely good. I haven't made it down there yet. There's also a German delicatessen that can do a little bit in that respect up on the Upper East Side by 86th Street on 2nd Avenue, but so, you know, it's fine. Then I get a little more when I'm in Denmark.

30:09
Tina Jøhnk Christensen
Yeah, so do I. Has your idea of what it means to be Danish changed since you left the country?

30:15
Eva Jensen
Well, I think it's twofold. That question is a good question because I think Denmark has really changed a lot since I left in '97. I left to work here Thanksgiving 1997, and the internet was just starting up. We were in the digital age and now we're really in the big data AI age suddenly.

30:37
Eva Jensen
Copenhagen and Denmark had a huge development, real estate infrastructure, especially, but also in real estate in Copenhagen. And it's very international. It's nearly bilingual, I would say in Copenhagen. So I think it's very easy to feel at home and belong in Copenhagen, where I have family that live there, so. Doesn't matter where you're from, it's that direct authentic meeting with people that's important. But I still feel Danish, very much so.

31:10
Eva Jensen
Of course I'm quite American, a New Yorker in some of my habits. And I walk fast. I maybe talk a little fast. I don't know. I have certain ways of living that are adjusted to life here. But I think Denmark has evolved, especially Copenhagen. Therefore, I don't know, it's not just me that changed, everything changed, we all changed.

31:36
Tina Jøhnk Christensen
And do you ever see yourself going back to Copenhagen at some point, or are you forever gonna stay in the United States?

31:45
Eva Jensen
I was born in Roskilde. I lived as a little child in Roskilde and then outside in the countryside. And I went to high school in Roskilde across from the cathedral, Roskilde Cathedral, which is famous because it's the mausoleum for the royals. And we had our holiday concerts there on top, it was quite spectacular. It was a lovely place to grow up.

32:07
Eva Jensen
And then I traveled and then moved to Copenhagen. My family moved to Copenhagen. Could I? That's still a question up in the air. I haven't decided. I have a company. I'm running a company here. I have friends here. I have a life here. I also have friends in Denmark and a summer cottage. That's a wonderful parallel. And where it's going to take me? I'm just staying open to what's happening in life.

32:37
Tina Jøhnk Christensen
My final question to you. If I speak to you in ten years, where would you like to be career-wise? And do you still have a lot of goals that you want to achieve that you'd like to tell me about in ten years?

32:52
Eva Jensen
I would like to keep designing, producing. I won a competition for Circle Shade, a design-build that has gotten a lot of international awards, three in the past three, four years. That's something I'm looking to get to market. Still working in high-end residential.

33:10
Eva Jensen
I'm a driven person. I have a desire to succeed. Being here, you work hard. So I think I would like to continue that, but I'd also like to travel a bit more, have that flexibility. So I think for the next ten years, I'm looking to build and to design and produce, and keep taking it to a next level in however manner I can. And maybe creating a synergy with Denmark. That would be wonderful.

33:41
Tina Jøhnk Christensen
Thank you so much for your time, Eva. We really appreciate that you were with us on Danish Originals.

33:47
Eva Jensen
Thank you for having me. I appreciate you taking the time.

33:54
Tina Jøhnk Christensen
For today's episode, Eva Jensen chose Henri Matisse's Landskab ved Collioure. Studie til "Livsglæden" or Landscape near Collioure. Study for "The Joy of Life" from 1905 from the collection of the National Gallery of Denmark.