Many talented ceramic painters have been affiliated with the historic Kähler workshop, including a number of women who played an important role. However, the products were always released with only the renowned HAK-signature in the bottom.
The women decorators played an important role at Kähler. They were given a free hand to let their imagination run loose. The horn painting in particular was a great opportunity to develop a personal style. All of the Kähler workshop's many decorators had one thing in common: in spiste of their individual styles and talents, all their pieces were anonymous works of art with the HAK-signature on the bottom.
Signe Steffensen worked as a Kähler decorator until 1934, and for a period she was the head woman of the decorators' workshop. She mastered the very difficult art of horn painting. None of the horn-painted ceramic pieces were identical, and they became one of Kähler's biggest sales successes.
Stella Kähler was the daugther of Hermen August Kähler and the wife of Artistics Director Jens Thirslund. With her moderate style, she threw herself into the slip decorations, but she also gave the red lustre a go, and one of these objects was sold to the National Museum in Stockholm in 1914.
Tulle Emborg developed her very own style, both in terms of horn painting and wet decorations. With great creativity she used both spoons and shaking movements to merge the colours. Her close cooperation with Nils Kähler resulted in pieces with strong resemblance to the old Kähler classical pottery, and they became a huge sales success.
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