Copyright
Copyright is mainly governed by the Danish Copyright Act (Consolidated Act on Copyright No. 1093 of 20 August 2023 with later amendments), which contains rules on exclusive rights, exceptions and limitations to copyright, rules on copyright agreements, etc. This act is supplemented by many executive orders which concern topics such as the effect of the Copyright Act on non-EEA right holders and the procedural rules for the Danish Copyright Tribunal.
Danish copyright law is harmonised to a very large degree with EU copyright law, which consists of a large amount of directives, regulations and court cases from the European Court of Justice.
Trade Marks
Trade marks are governed mainly by the Danish Trade Mark Act (No. 88 of 29 January 2019).
Danish trade mark law also applies in the Faroe Islands and Greenland. The new Trade Mark Act (from 2019) came into force in Greenland through a Royal Decree on 1 September 2022. The new Trade Mark Act is expected to come into force in the Faroe Islands through a Royal Decree at a later point.
In addition, other legislative acts, such as the Danish Marketing Practice Act (No. 426 of 3 May 2017 with later amendments), are supplementing the Trade Mark Act.
In Denmark, trade mark protection can be obtained either by registration or through commencement of use of the mark in the Danish market. An unregistered trade mark right may be established for the goods or services for which the trade mark is continuously used, when the extent of the use has more than mere local significance. A trade mark right regarding a mark which is devoid of distinctive character at the time of commencement of use shall only be established when and if distinctive character is acquired through use of the mark.
Copyright
Denmark is a signatory to WIPO treaties relating to copyright, and the Copyright Act reflects many of the principles and provisions of these treaties. However, as mentioned in 1.1 Governing Law, Danish copyright law is now harmonised with EU copyright law to a very large degree. A number of newer court cases and opinions from the European Court of Justice have indicated that the freedom of the member states with regard to entering new copyright treaties, making reservations, etc is limited, eg, see C-265/19 (RAAP), Opinion 3/15 (Marrakech) and C-227/23 (Kwantum Nederland).
The main provisions governing foreign copyright holders in Denmark can be found in Sections 87 and 88 of the Copyright Act and the Executive Order on the Application of the Copyright Act in Relation to Other Countries (No. 218 of 9 March 2010 with later amendments).
Trade Marks
Trade mark conventions and treaties
In connection with trade marks, Denmark is party to the following international treaties and conventions:
Rights of foreign trade mark holders
The trade mark rights of foreign trade mark holders are governed by the Trade Mark Act. See also under “Protection of Foreign Trade Marks” in 2.1 Types of Trade Marks.
In Denmark, the following kinds of trade marks are registrable: individual trade marks, guarantee or certification marks, and collective marks. Service marks are categorised as individual trade marks.
Surnames may be protected as trade marks provided that they fulfil the requirements for trade mark protection. However, a trade mark may be excluded from registration if it consists of or contains a rare surname (ie, fewer than approximately 30 persons hold the specific surname). The holder of the rare surname is required to assert this right by filing an opposition to the registration of the trade mark.
Industrial designs may be protected as trade marks if they fulfil the requirements for trade mark protection, for instance, in terms of the required distinctive character.
Types of Marks
The following may be protected as trade marks (provided that the general requirements for protection are fulfilled):
These types of marks may be registered if they can be represented in the trade mark register in a clear, precise, independent, easily accessible, understandable, durable and objective manner and if they are capable of distinguishing the goods or services of one undertaking from those of other undertakings.
Protection for Specific Marks
In Denmark, certain specific marks, eg, the Crown of the Danish royal family, are protected by specific rules.
Protection of Foreign Trade Marks
Foreign trade marks that are not in use or registered in Denmark may still be able to hinder the registration of a confusingly similar mark in Denmark provided that the foreign trade mark is used and protected abroad and provided that the application in Denmark was filed in bad faith.
In addition, well-known foreign trade marks are also protected in Denmark provided that these trade marks are considered well known in Denmark within the meaning of Article 6bis of the Paris Convention.
Elements Required to Qualify for Trade Mark Protection
In order for a trade mark to be protected in Denmark, it must be distinctive and not descriptive in terms of the goods and services applied or used for.
In order to be registered, the trade mark cannot be misleading or be contrary to law, public order or morality.
Acquired Distinctiveness
A trade mark that lacks inherent distinctiveness may acquire distinctiveness through use. This acquired distinctiveness must be documented. All relevant material can be used for this, including invoices, advertising and promotional material, brochures and market surveys. Also, declarations from relevant industry associations stating that a specific mark has acquired distinctiveness in the market through use may be used in certain circumstances.
The material primarily must show:
When assessing whether a mark has acquired distinctiveness through use, factors such as the character of the mark, the intensity and length of the use and the nature of the specific goods or services will be taken into account.
It follows from the Trade Mark Act that obtaining a trade mark right confers on the proprietor exclusive rights.
Namely, the proprietor of a trade mark right shall be entitled to prevent all third parties not having consent from using in the course of trade, in relation to goods or services, any sign which is confusingly similar to the trade mark or, if the trade mark is reputed, constitutes an infringement to the reputation or distinctiveness of the trade mark.
If the trade mark is registered, the trade mark rights granted to the proprietor persist throughout the term of a registration provided that the proprietor is able to maintain the registration (for instance, proving genuine use of the mark once the use requirements are applicable).
If the trade mark is established through use, the trade mark rights persist as long as the trade mark continues to be in use.
The Trade Mark Act only applies in relation to use in the course of trade.
Whether a specific use is made in the course of trade will depend on several factors, including whether the use takes place in the context of commercial activity with a view to economic advantage and not as a private matter.
According to the Trade Mark Act, there are certain limitations to the exclusive rights afforded to trade mark owners. For instance, a trade mark cannot prevent a third party from using, in the course of trade, signs or indications which are not distinctive or which concern the kind, quality, quantity, intended purpose, value, geographical origin, time of production of goods or of rendering of the service, or other characteristics of goods or services.
Thus, to be able to prevent a third party’s use of an identical or similar sign in the course of trade, it is necessary to establish that this has been used as a trade mark.
In Denmark, it is possible to use the symbols TM to indicate that a certain mark is a trade mark and ® if the mark is registered, but this is not a requirement.
The symbols must not be used in a misleading way, ie, the symbol ® may only be used if the mark is registered.
In terms of trade mark notices regarding ownership, these are not required in Denmark.
In principle, a trade mark (for instance, a logo or a sound mark) may also be protected under copyright provided that the mark meets the requirements regarding originality etc.
Pursuant to Section 1(1) of the Copyright Act, a person who creates a literary or artistic work holds the copyright to the work. The Copyright Act does not further specify the different categories of works which are protected, but some categories are mentioned in other provisions, eg, that computer programs are considered literary works, cf. Section 1(3). Compilations of works (or parts thereof) can be protected pursuant to Section 5.
Industrial designs can be protected by copyright provided that the requirements for copyright protection are met.
The Copyright Act does not explicitly outline the requirements for obtaining copyright protection. Traditionally, it has been required that (a) the relevant product is considered “artistic” or “literary” and (b) the product is “original”, ie, the work must be the result of the author’s “personal creative effort”. Recently, a number of court cases from the European Court of Justice have shed more light on what is required for obtaining copyright protection in the EU, eg, the concept of “work” is “an autonomous concept of EU law which must be interpreted and applied uniformly, requiring two cumulative conditions to be satisfied. First, that concept entails that there exists an original subject matter, in the sense of being the author’s own intellectual creation. Second, classification as a work is reserved to the elements that are the expression of such creation,” cf. C-683/17 (Cofemel).
There is no definition of “author” in the Copyright Act. Copyright is granted to the person or persons who create the work.
The Copyright Act does not contain a general provision on “work-for-hire”, but Section 59 states that “the copyright in a computer program created by an employee in the course of their duties or following the instructions of the employer shall vest in the employer”. In other cases, copyright can be transferred or licensed by agreement, eg, employment agreements.
While not explicitly mentioned in the Copyright Act, it is usually understood that copyright is granted to (human) persons, ie, animals cannot be granted copyright. There are currently no Danish court cases regarding the use of artificial intelligence in the creation of content.
With regard to joint authorship, Section 6 of the Copyright Code states: “If a work has two or more authors, and their individual contributions cannot be separated as independent works, they shall hold the copyright jointly. However, each of them may take action against infringements.” This normally means that one of the authors cannot use the work without the permission of the other authors. The Copyright Act does not determine the specific ownership percentages of the authors in question.
Copyright owners are granted different exclusive rights, which are well known from international copyright legislation, eg, the rights to reproduction, communication to the public and distribution of works. The rights are outlined in the Copyright Act, namely Section 2. The rights persist throughout the term of a copyright.
The moral rights are outlined in Section 3 of the Copyright Act, which requires that:
The moral rights persist even after the term of the copyright in accordance with Section 75 of the Copyright Act, however, only with regard to uses that infringe “cultural interests”. This provision is only very rarely used.
Pursuant to Section 63 of the Copyright Act, the standard term of protection is 70 years after the year of death of the author, but special rules may apply, eg, for audiovisual or musical works.
Section 54(1) of the Copyright Act contains an obligation to exploit the rights that have been assigned. The author may terminate an agreement granting exclusive rights with six months’ notice, if exploitation has not commenced within a reasonable time after the author has fulfilled their obligations under the agreement. However, this shall not apply if exploitation is commenced before the end of the notice period.
Denmark has a long-standing tradition of using collective management of rights as part of the copyright system. Collective management organisations are in place for different categories of works and other protected subject matter, eg, in areas such as music, text and visual arts. The list can be found (in Danish) on Forvaltningsorganisationer.The collective management organisations are structured differently and perform different tasks. Most collective management organisations receive mandates from their members, but some organisations are approved by the Danish Ministry of Culture to perform certain tasks, eg, handling compensation for private copying.
The main piece of legislation is the Danish Act on Collective Management of Right (No. 321 of 5 April 2016 with later amendments), which contains most of the rules in Directive 2014/26/EU of 26 February 2014 on collective management of copyright and related rights and multi-territorial licensing of rights in musical works for online use in the internal market. In addition, the Copyright Act contains rules which are relevant for the functioning of collective management organisations, eg, rules on the fees and terms of the licences of these organisations.
There is no copyright registration system in Denmark, and no formalities, such as notices or symbols, are required to obtain copyright.
There is no copyright registration system in Denmark, and no formalities, such as notices or symbols, are required to obtain copyright.
There is no copyright registration system in Denmark, and no formalities, such as notices or symbols, are required to obtain copyright.
A product which is protected by copyright can also be protected by other rights, eg, trade marks or related rights, provided that the requirements for protection are met.
The Copyright Act contains a detailed set of provisions outlining the scope and requirements for obtaining related rights. The protection is in many cases similar to the protection of copyright, but in other cases it might be different, eg, with regard to requirements for protection, term of protection, etc.
A creative product, eg, a song, can thus be protected by both copyright (eg, lyrics and composition) and related rights (eg, the performance of the work and the sound recording) at the same time.
Establishment of Trade Mark Rights
In Denmark, trade mark protection can be obtained either by registration or through commencement of use of the mark in the Danish market. An unregistered trade mark right may be established for the goods or services for which the trade mark is continuously used, when the extent of the use has more than mere local significance. A trade mark right regarding a mark which is devoid of distinctive character at the time of commencement of use shall only be established when and if distinctive character is acquired through use of the mark.
A trade mark right established through use affords the same rights as a registered trade mark right. However, to enforce such right, the establishment of the right needs to be documented and the right only persists as long as the mark is continuously used. Thus, in practice, there are some benefits connected with registering a trade mark compared to relying on a trade mark right based on use.
The standards for registering different types of marks are in principle the same. However, from case law it follows that for non-traditional marks, such as shape marks, the average consumers are not in the habit of making assumptions about the origin of products on the basis of, for instance, their shape. Therefore, for certain types of marks it may be more difficult to establish distinctiveness.
In addition, it should be noted that some trade marks are excluded completely from registration (these marks cannot acquire distinctiveness through use), namely, trade marks which consist exclusively of:
In Denmark, there is a trade mark register. The online publicly available trade mark database contains Danish national trade mark applications and registrations and international registrations designating Denmark. The EU trade marks which are also valid in Denmark (but not in Greenland and the Faroe Islands) may be found in the EUIPO online publicly available trade mark database.
Searches for Prior Rights
Whether or not to perform a search for prior trade marks before applying to register a mark will depend on the risk profile of the applicant.
If a search is conducted, this could be done using the Danish trade mark database and the EUIPO database or the general trade mark database TMview. Further supplemental searches, for instance in the Danish Company Register and general internet searches, may also be performed.
A Danish trade mark registration is valid for ten years from the application date. A Danish registration is renewable for periods of ten years.
For trade marks registered before the new Trade Mark Act, namely before 1 January 2019, the starting date is still the date when the registration became final. For subsequent ten-year periods, the time limit for renewals will run from the date of the expiration of the preceding period.
Late Renewal
A trade mark owner may renew a trade mark registration six months after the expiration date upon paying an increased renewal fee.
There are no formal requirements regarding continued use in commerce or similar in connection with the renewal.
Once the trade mark registration has lapsed, it cannot be revived.
The application for registration of a trade mark in Denmark has to be filed with the Danish Patent and Trademark Office.
As a minimum and in order to receive an application date, the application has to contain the following:
Multi-class applications are allowed in Denmark.
No further materials, such as specimen of use, date of first use in commerce or creation in commerce, or sworn declaration of accuracy, are required.
Fees
The official fee for filing a trade mark application in Denmark is DKK2,000 for the first class. The fee is DKK200 for the second class and DKK600 for each additional class. There is no registration or publication fee.
Who Can Register a Trade Mark?
Everyone, eg, individuals, legal entities and trade bodies, can register a trade mark in Denmark.
There is no requirement for foreign applicants to appoint a local agent. However, it should be noted that at time of writing, the list of goods and services must be provided in Danish.
There are no requirements in Denmark that the mark has to be used in commerce before the registration is issued.
Genuine Use
If, within a period of five years from the termination of the registration procedure, the proprietor of a registered trade mark has not put the trade mark to genuine use in Denmark in connection with the goods or services in respect of which it is registered, or if such use has been suspended for an uninterrupted period of five years, the registration may be revoked, unless there are proper reasons for non-use.
The assessment of genuine use involves various factors, and a case-by-case assessment must be conducted as to what constitutes genuine use.
In general, genuine use is required in connection with the goods or services in respect of which the mark has been registered. Furthermore, use of a trade mark with the consent of the proprietor shall be deemed to constitute use of the trade mark by the proprietor.
In addition, the following shall also constitute use:
The Danish Patent and Trademark Office provides an informative search for similar prior applied or registered trade marks. These similar prior applied or registered trade marks do not bar registration but can be used by the owner of the prior right as a basis for filing an opposition or cancellation action.
It is possible to change an application for a trade mark during the application and registration process. However, it is not possible to extend the scope of the application in terms of the list of goods and services. Specification can be made if such are within the original applied scope.
In terms of alterations of the mark, only minor, insignificant changes may be made.
It is possible to divide a Danish trade mark application or registration.
A division of a trade mark application or registration may concern either entire classes or only individual goods or services in one or more classes.
The requirement for the Danish Patent and Trademark Office to accept a request for division is that it is clear which goods and services the marks cover after the division. Thus, for instance, it is not possible that the same or overlapping goods and services are covered by both the original application or registration and the divided application or registration.
If a division of a trade mark application or registration is desired, a request must be sent to the Danish Patent and Trademark Office. An official fee will have to be paid in this respect.
Division of trade mark applications or registrations is made with reference to various reasons, for instance, partial refusals, potential partial assignments of the trade mark, etc.
If incorrect information has been provided by mistake, it should be possible to correct such mistakes.
However, if a trade mark application has been restricted or withdrawn, it will typically not be possible to reverse such actions.
A trade mark may be refused registration on the basis of absolute grounds.
“Absolute grounds” means that a trade mark cannot be registered if it (among others):
It is possible to file observations in reply to a provisional refusal based on absolute grounds in which it is argued that the applied marks should be registered.
It is also possible, for instance, to restrict the application in order to overcome the provisional refusal or to submit evidence which shows that the mark has acquired distinctiveness, if relevant (see also under “Acquired Distinctiveness” in 2.2 Essential Elements of Trade Mark Protection).
Denmark is a party to the Madrid Protocol. Similar requirements for registration apply for international registrations as for national applications. However, the list of goods and services does not need to be filed in Danish for international registrations.
Furthermore, there are certain obligations for the Danish Patent and Trademark Office in connection with international registrations; for instance, the Office is required to process the designation of Denmark within 18 months from the notification date.
Who May File Oppositions?
Oppositions may only be filed on the basis of prior rights. Therefore, only the holder of the prior right in question may file an opposition. However, the holder may authorise others to file the opposition.
The Opposition Deadline
The opposition deadline of two months from publication may not be extended.
The opponent may file the formal opposition and request a further deadline to substantiate the opposition.
It is possible to have the opposition proceedings suspended based on negotiations regarding an amicable settlement, if the parties agree to such suspension.
Revocation and Cancellation Actions
Revocation or cancellation actions may be made at any point in time after the mark has been registered.
For cases concerning genuine use of the registered trade mark, the request can be made no earlier than five years after registration of the contested trade mark in accordance with the rules on genuine use (see under “Genuine Use” in 4.5 Use in Commerce Prior to Registration).
Oppositions may only be filed on the basis of prior rights (relative grounds). “Relative grounds” means that a trade mark cannot be registered if there are similar or identical earlier rights which may prevent this.
Cancellation actions may be filed on the basis of both relative grounds (see above) and absolute grounds. “Absolute grounds” means that a trade mark cannot be registered if it (among others):
In addition, cancellation actions may also be filed on the following grounds:
Expungement or Re-Examination Procedure
It is possible to appeal a decision issued in an opposition or cancellation matter and thus have the case re-examined by the Danish Appeal Board (Ankenævnet for Patenter og Varemærker).
Oppositions
Oppositions may only be filed on the basis of prior rights. Therefore, only the holder of the prior right in question may file an opposition. However, the holder may authorise others to file the opposition.
Representation in oppositions is not required.
The official fee for filing an opposition is DKK2,500. The average fee for having assistance from an attorney will vary and depend on various factors such as the complexity of the matter, the lengths of the proceedings, etc.
Cancellation Actions
Everyone may request that a trade mark registration be cancelled. A legal or commercial interest in the matter is not required. However, a request cannot be made anonymously. If the cancellation is based on prior rights, only the holder of the prior right in question may file the cancellation action.
Opposition Procedures
Opposition has to be filed within the opposition period, which is the two months that follow the publication of the trade mark.
Once the mark has been opposed, the applicant will be notified of the opposition and given the opportunity to comment. Once the Danish Patent and Trademark Office has received the applicant’s comment, the Office will assess whether a decision can be made or whether there is a need for further clarification of the matter.
Typically, further rounds of observations are required depending on the claims made in the opposition, for instance, if claims have been made in connection with reputed trade marks or lack of genuine use of the opponent’s mark.
The opposition proceedings are conducted in writing.
Cancellation/Revocation Procedures
Cancellation actions are typically filed with the Danish Patent and Trademark Office.
It is also possible to have trade mark registrations cancelled through filing a matter with the Danish courts.
Partial revocation/cancellation is possible in case the grounds invoked in the proceedings are only relevant and enforceable for part of the trade mark registration.
It is possible to file an appeal against the decision of the Danish Patent and Trademark Office. An appeal is filed with the Danish Appeal Board (or, depending on the circumstances, directly with the Maritime and Commercial Court).
Only final decisions by the Danish Patent and Trademark Office may be appealed.
An appeal will often be decided by the Danish Appeal Board within 12 months from the filing of the appeal.
No content provided in this jurisdiction.
Actions involving revocation/cancellation and infringement can be brought and heard together only before the Danish courts (Maritime and Commercial Court).
A trade mark application which has been filed in bad faith may be cancelled (see 5.2 Legal Grounds for Filing an Opposition or Cancellation).
If the Danish Patent and Trademark Office finds that a trade mark registration has been filed in bad faith, the trade mark registration will be cancelled.
Copyright
A right holder in general has a large degree of flexibility with regard to assignment of rights. There are no specific formal requirements, such as that the agreement must be in writing.
Such agreements are governed by general contract law and in addition by a number of provisions in the Copyright Act.
Pursuant to Section 53(1), the author may assign their rights under the Copyright Act in whole or in part (with a few limitations). Section 53(3) states that where the author has granted a right to exploit the work in a specific way or by specific means, such grant shall not entitle the transferee to exploit the work in other ways or by other means. Upon death, copyright is assigned to heirs (or others) in accordance with the Danish law of succession, cf. Section 61 of the Copyright Act.
The Copyright Act includes several other provisions that apply to agreements, such as rules on transparency, additional remuneration, revocation of rights, etc.
Trade Marks
It is possible to assign registered trade marks. It is not a condition for the validity of the transfer that it is recorded in the Danish trade mark register.
The assignment may be recorded in the register upon request. The request will need to be supplemented by documentation for the assignment.
Partial assignments are possible.
Trade marks are transmissible upon death (when owned by a natural person).
Copyright
A right holder in general has a large degree of flexibility with regard to assignment of rights. There are no specific formal requirements, eg, that the agreement must be in writing.
Such agreements are governed by general contract law and in addition by several provisions in the Copyright Act.
Pursuant to Section 53(1), the author may assign their rights under the Copyright Act in whole or in part (with a few limitations). Section 53(3) states that where the author has granted a right to exploit the work in a specific way or by specific means, such grant shall not entitle the transferee to exploit the work in other ways or by other means. Upon death, copyright is assigned to heirs (or others) in accordance with the Danish law of succession, cf. Section 61 of the Copyright Act.
The Copyright Act includes several other provisions that apply to agreements, such as rules on transparency, additional remuneration, revocation of rights, etc.
Trade Marks
A trade mark licence agreement may be concluded orally or in writing.
It is possible to have the licence recorded in the trade mark register upon request. The request will need to be supplemented by documentation for the licence. Recordal in the register is voluntary.
A licence may be exclusive or non-exclusive, and it may be perpetual (however, trade mark rights will depend on the trade mark being continuously renewed). A trade mark application may be the subject of a licence agreement (but a trade mark right is subject to the application maturing into registration).
Copyright
The Danish copyright Office does not have a registration system for agreements concerning assignment or licensing of copyrights.
Trade Mark
See 6.1 Assignment Requirements and Restrictions and 6.2 Licensing Requirements or Restrictions.
Neither trade mark nor copyright law contains provisions which require claims to be brought within a specific period of time. However, claims can be time-barred in accordance with the statute of limitations, and failure to act can result in the forfeiting of claims.
The Copyright Act and Trade Mark Act each contain a chapter which describes the remedies for infringing the rights. Many of the provisions in these chapters stem from EU legislation, including the Enforcement Directive (Directive 2004/48/EC of 29 April 2004 on the enforcement of intellectual property rights).
Remedies include damages, recall and destruction of infringing goods and penal measures such as fines or, in severe cases, imprisonment. In addition, the Danish Administration of Justice Act (Consolidated Act No. 1160 of 5 November 2024 with later amendments) contains rules on right to information, injunctions, etc.
What constitutes an infringement depends on the facts of the specific cases. The Copyright Act does not specifically address the different kinds of infringements but is broad enough to support claims relating to different kinds of infringements. In accordance with cases from the European Court of Justice, the exclusive rights can cover many different uses, including provision of an online platform where users share content protected by copyright, and linking to copyright protected content.
It constitutes trade mark infringement to use in the course of trade – and without the consent of the proprietor of a trade mark – a sign which is identical or similar to the trade mark when use is made in relation to goods or services which are identical with or similar to the goods for which the trade mark is registered/used and if there exists a likelihood of confusion on the part of the public (including the likelihood of association between the sign and the trade mark). Moreover, it constitutes trade mark infringement if – without the consent of the proprietor of a trade mark – a sign is used in the course of trade which is identical/similar to a trade mark with a reputation irrespective of whether it is used in relation to goods or services which are identical with, similar to, or not similar to, those for which the reputed trade mark is protected if use of that sign without due cause takes unfair advantage of, or is detrimental to, the distinctive character or the reputation of the trade mark.
To establish a trade mark claim it must be proven that there exists a likelihood of confusion or that use of a sign takes unfair advantage of, or is detrimental to, the distinctive character or a reputed trade mark.
Chapter 6a of the Copyright Code contains provisions on the protection of technical measures and copyright management information which right holders have employed. The rules stem from Chapter 3 of the EU Copyright and Information Society Directive (Directive 2001/29/EC of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society), which defines “rights management information” in Article 7(2).
Copyright
The Copyright Act does not include a list of factors which must be considered in determining whether use of a copyright constitutes infringement. The courts will take into consideration all relevant facts in the situation.
Trade Marks
Finding a likelihood of confusion (trade mark infringement) presupposes the finding of similarity between the signs involved and similarity/identity between the relevant goods/services, and these factors are therefore crucial factors in determining trade mark infringement (likelihood of confusion). The protection offered to trade marks with a reputation does not require the finding of likelihood of confusion, but factors such as similarity between the signs and goods are still important factors for finding infringement of a reputed trade mark, and so is the level of reputation of a mark.
There are no formal prerequisites to filing a trade mark or copyright lawsuit, but it is common practice to contact possible infringers before any lawsuit is initiated, eg, by cease-and-desist letter, proposal for amicable solution, etc. The Copyright Act and Trade Mark Act do not include any specific provisions which restrict right holders from asserting their rights against others.
Other rules might, however, directly or indirectly limit or affect the right holders one way or another, eg, rules on marketing practice, conduct of lawyers, costs, etc.
Civil cases in Denmark are usually initiated in the civil courts, but this is not the case for many disputes relating to intellectual property rights, as the Maritime and Commercial Court has competence in most cases which concern trade marks, patents, etc. Cases relating to infringement of copyright can be brought before this court, but only in some instances, eg, cases relating to applied art or computer programs, or international cases where knowledge of international business affairs is of significant importance. The civil courts can also decide to refer a copyright case to the Maritime and Commercial Court.
The amount of costs that arise before the filing of a lawsuit depends on the specific facts of the case. It is very common that lawyers are used before a lawsuit is initiated, eg, to write letters to the possible infringer, prepare the writ of summons, etc. The parties do not need to be represented by a lawyer, unless the court finds that a party cannot conduct the case in an appropriate manner.
Non-Danish holders of trade marks or copyright can bring infringement claims in Denmark without the need for specific registration with Danish authorities, but special rules might apply to the specific facts of the case.
An alleged trade mark or copyright infringer can start declaratory judgment proceedings against a right holder.
It is not possible to file protective briefs in Denmark.
In Denmark, it is often only possible to have the court issue an injunction if the plaintiff deposits a bond (security). The size of the bond is determined on a case-by-case basis.
Denmark has a small claims procedure, but it does not specifically relate to copyright or trade marks. Most cases relating to copyright or trade marks will not fulfil the requirements for using the small claims procedure as they tend to be too complex.
Copyright
The Danish Copyright Office does not make any decisions relating to infringement.
Trade Mark
The Danish Patent and Trademark Office does not decide in infringement proceedings (eg, regarding claims for ceasing use of a sign or payment of financial compensation/damages). It decides in opposition and cancellation matters, and decisions made by the Office in such matters may indirectly have an effect on the courts’ rulings in infringement proceedings. The courts are, however, not bound by the decision made by the Office even if a dispute before the courts concerns identical marks (eg, if a party succeeds in an opposition against an application and subsequently initiates infringement proceedings with the courts to stop all use of the trade mark, the court will make its own independent assessment of whether the plaintiff is entitled to prevent use (if use constitutes a trade mark infringement)).
The Copyright and Trade Mark Acts contain a number of procedures and remedies regarding counterfeiting activities. For example, if an infringement is committed intentionally and under aggravating circumstances, the penalty may be increased to imprisonment for up to one year and six months and, in some very aggravating circumstances, up to six years.
There is also a large degree of involvement from public authorities when it comes to counterfeiting, bootlegging and similar activities. The public prosecutor and a special branch of the police handle cases relating to mass infringement of intellectual rights, eg, cases regarding the facilitating of illegal streaming services or music streaming fraud. Customs assists right holders in seizing infringing goods.
The Maritime and Commercial Court is specialised in cases regarding intellectual property. The cases will normally be handled by a judge as well as two technical judges. In some cases, the number of legal and technical judges can be increased to three and five respectively, but this does not happen in most cases.
The parties do not in general have an influence on who the judges are, but the parties have the possibility to challenge the appointment of a judge for lack of impartiality.
Copyright
Copyright cannot be registered in Denmark.
Trade Marks
A trade mark registration allows a proprietor to easily prove the existence of the right and the priority thereof, which may be highly beneficial in relation to infringement proceedings (litigation). A registration does not after a certain time become incontestable in Denmark, and it is subject to a use requirement five years from registration.
The typical cost of bringing a simple trade mark or copyright infringement action to conclusion in the first instance is in the range of DKK300,000-600,000. Factors such as legal or factual complexity, value of the case, the willingness of the parties to agree on procedural matters, etc impact the expected cost, and costs may be many times higher depending on the actual case and its specific circumstances.
It is possible to defend a claim for trade mark infringement in different ways, including the following:
The Copyright Act in Chapter 2 sets out a list of exceptions to the exclusive rights, including exceptions relating to parody and quotation. The list does not include general exceptions relating to fair use or freedom of speech.
In recent years, Danish courts have found that several exceptions exist outside of the Copyright Act, eg, trivial (de minimis) usage and parody (until the introduction of a parody exception in the Copyright Act in 2023).
The flexibility in creating or adjusting exceptions is limited as copyright law is in general harmonised with the EU. EU copyright legislation contains some exceptions which are mandatory for member states to implement, eg, for purposes such as preservation and text and data mining. In addition, member states can choose to include other exceptions from a closed list of possible exceptions. Many definitions and terms are subject to interpretation of the European Court of Justice, eg, “parody”, cf. C-201/13 (Deckmyn).
Copyright
The Copyright Act contains several provisions on exhaustion of rights. Section 19(1) concerns distribution, lending and rental and works with a doctrine of regional exhaustion of rights (EU/EEA); however, not with regard to lending and rental, where a principle of global exhaustion is used. Special rules relate to rental and lending, cf. Section 19(2) and (3). Section 20 concerns public display of work and states that “once a work has been published, or when a copy of an artwork has been transferred by the author to others, the published or transferred copies may be displayed publicly”.
With regard to digital content, the European Court of Justice has found that (digital) exhaustion might be relevant for computer programs, cf. C-128/11 (UsedSoft), but the opposite is the case for e-books, cf. C-263/18 (Tom Kabinet).
Trade Marks
Once goods have been put on the market in the EEA under that trade mark by the proprietor or with their consent, the proprietor will no longer be able to prohibit use of the trade mark on these goods.
Injunctions are governed by the Administration of Justice Act in combination with the Trade Mark Act and Copyright Act. These acts contain the relevant parts of the EU Enforcement Directive.
A right holder has access to different options with regard to injunctive relief. The courts have the possibility to grant preliminary injunctions provided that the right holder demonstrates or renders probable that:
The courts will also assess whether the applicant is protected by other means, eg, damages or security offered by the opposing party, and whether an injunction would cause the opposing party harm or inconvenience that is clearly disproportionate. Permanent injunctions are also available for right holders.
Injunctions can also be directed at third parties, such as internet service providers, irrespective of whether these third parties are liable or not. Blocking of websites, which contain a very large amount of illegal content, can play a significant role in the enforcement strategy of right holders.
Right holders also have other options. For example, the courts can order an infringer to recall and destroy infringing goods, ie, so-called “corrective measures”.
The provisions regarding damages in both the Trade Mark Act (Section 43) and Copyright Act (Section 83) stem from Article 13 of the EU Enforcement Directive. The provisions state that a person who intentionally or negligently infringes another party’s trade mark or copyright right shall pay (1) reasonable compensation to the injured party for the use of the trade mark or copyright, and (2) damages to the injured party for any additional loss caused by the infringement, cf. Section 43(1) of the Trade Mark Act and Section 83(1) of the Copyright Act. Pursuant to the second subsection of these provisions, when determining damages under subsection 1, point 2, regard shall be had, inter alia, to the injured party’s lost profits and the infringer’s unjust enrichment.
Reasonable compensation can be based on the standard licence fee in the market or can be more loosely approximated if no such fee exists. Additional loss can, for example, be disruptions to the market, loss of sales or costs relating to investigation and securing of evidence. In many cases, the courts will award an estimated fee which covers both reasonable compensation and additional loss based on the facts of the case.
Pursuant to Section 43(3) of the Trade Mark Act and Section 83(3) of the Copyright Act, compensation may also be awarded to the injured party for non-economic damage, eg, when the moral rights of right holders are infringed.
The allocation of costs is governed by the Administration of Justice Act, cf. Chapter 30. The main rule is that “the losing party shall compensate the opposing party for the expenses incurred as a result of the legal proceedings, unless otherwise agreed by the parties”, cf. Section 312(1). As legal costs, expenses necessary for the proper conduct of the case shall be reimbursed, cf. Section 316(1). Sometimes costs associated with technical assistance might also be reimbursed.
Chapter 30 of the Administration of Justice Act provides the court with some flexibility and addresses different situations which can occur in different cases. Cases regarding copyright and trade mark rights (and other IP rights) usually result in a higher amount of costs being awarded than in other cases in Denmark. The reason for this is that these cases fall under the scope of the EU Enforcement Directive and that the European Court of Justice has interpreted this directive in a way that normally leads to higher costs, cf. C-57/15 (United Video Properties).
A holder of a trade mark or copyright can under certain circumstances seek preliminary injunctions without notice to the defendant. However, normally the court will summon the defendant to the court.
Denmark provides for customs seizures of counterfeits etc. The holder of the trade mark or copyright must make a request through the EU’s IP Enforcement Portal (IPEP). In cases where customs seizes goods and no request has been made by the right holder, customs might contact the right holder (if known), but the right holders will need to reach swiftly on such notification.
Decisions relating to trade mark or copyright infringement can in most cases be appealed to a higher court, and the procedures are usually the same as for other civil cases. This means that decisions from civil court can be appealed to the High Courts and decisions from the Maritime and Commercial Court can be appealed to the High Courts or in certain instances directly to the Supreme Court.
The time limit for appeal is four weeks. The time limit is calculated from the date of the judgment. An appeal will normally take between one and two years to be decided.
The interplay between artificial intelligence and intellectual property rights is the main emerging issue at the moment, especially in the field of copyright. The main topics are the same as in other countries, eg, who – if any – has the rights to AI outputs, the legality of using copyright protected content in training of AI services, etc. At time of writing, there are no Danish decisions or pending cases regarding AI and copyright/trade marks.
With regard to copyright, many other topics are being discussed, eg, transparency in rights agreements, the role of intermediaries, the impact of new technologies and forms of distribution, etc.
In recent years, the EU has adopted several new pieces of legislation which aim to regulate trade and services on the internet. This includes the Digital Services Act, which contains rules on liability of platforms, notice-and-takedown procedures, etc. These rules apply horizontally, ie, also to matters related to copyright and trade marks.
In addition, in 2019 the EU adopted the DSM Directive (Directive (EU) 2019/790 of 17 April 2019 on copyright and related rights in the Digital Single Market), which in Article 17 regulates the so-called providers of “online content sharing service providers”, ie, services which fall under the definition in Article 2(6) of the directive. This directive has been implemented into the Copyright Act by introducing a new Section 52 C.
It is also important to highlight the importance of case law from the European Court of Justice, which in recent years has issued many important decisions on the interplay between the acts governing intellectual property rights and technology/the functioning of the internet, eg, platforms and linking.
Axel Towers, Axeltorv 2
1609 København V
Denmark
+45 33 41 41 41
contact@gorrissenfederspiel.com www.gorrissenfederspiel.comIs AI-Generated Material Eligible for Copyright?
Background: copyright protection and the human authorship requirement
In Denmark, as well as globally, copyright protection is reserved for works created by humans. This stems from the originality requirement in § 1 of the Danish Copyright Act, which necessitates a personal creative effort. Before the rise of generative AI, this was rarely a real issue.
One exception – often cited in discussions about non-human authorship – was a US case involving a monkey. In the case Naruto v Slater, a monkey had triggered a camera and taken a series of selfies. The court ruled that, since the photo was not the result of human authorship, it could not be protected by copyright. As a result, the image was deemed to be in the public domain, and anyone could use it freely.
The question of authorship has become one of the hottest topics in copyright law following the breakthrough and rapid development of generative AI. As machines are now capable of producing text, music, images and video with minimal human input, the traditional link between human creativity and copyright is under pressure. Courts, legislators and scholars are now forced to revisit a core principle: should copyright protection only apply to works created by humans? And where should the line be drawn for the level of human involvement and creativity required to grant protection?
The problem is complicated by the fact that the development has progressed so fast that the legislature has not yet directly addressed this AI issue in the Copyright Act. And this is not just a Danish problem. Across the globe, legal systems are struggling to keep up. Most copyright laws were drafted in a pre-AI era and assume a human creator. As a result, there is legal uncertainty about how to handle AI-generated content in terms of protection.
Traditionally, it has not taken much to meet the originality requirement under Danish copyright law. Even a low level of human creative effort can be enough to trigger protection. A simple piece of music with just a few tones may qualify. Likewise, a short text – even just a few words – can be protected if the expression reflects a personal and creative choice. The threshold is low, but it still requires a human touch.
There have been several cases on the issue worldwide, but none yet in Denmark. Danish courts have not yet been asked to decide whether AI-generated material can be protected by copyright, and the Danish legislature has not provided any clear guidance so far. As a result, there is legal uncertainty in Denmark. In the absence of national case law, it is useful to look abroad.
Other jurisdictions have already started to grapple with the question. Particularly the USA, where copyright protection can be registered through a formal process, has seen early movement. Because the registration process is faster and more accessible than court litigation, the US Copyright Office has been at the centre of recent developments. The Copyright Office has published a detailed report making it clear that works created without human authorship are not eligible for protection. This position has since been confirmed in several administrative decisions and court rulings.
The following sections will review how selected jurisdictions – including the USA, China and the EU – have addressed the issue. Each section provides insight into how copyright law is being tested and interpreted in light of AI. The findings will be summarised at the end of the article, followed by an assessment of the current legal position in Denmark.
European case law
In October 2023, a court in Prague delivered the first European judgment addressing copyright protection for AI-generated material. The case concerned an image created by the plaintiff using the AI tool DALL-E. The image showed a handshake and was intended to symbolise a business agreement. According to the plaintiff, the following prompt had been used to generate the image: “Create a visual representation of two parties signing a business contract in a formal setting, such as a conference room or a law firm office in Prague. Show only hands.”
The image was used on the plaintiff’s website but was later copied by a law firm, which then used it on its own website. This gave rise to a legal dispute over copyright infringement – a question that, as a first step, required clarification of whether the image was protected by copyright at all.
The court requested the plaintiff to document the prompts used to create the image. However, the plaintiff refused to provide this documentation. For this reason alone, the court rejected that the image could be protected, as there was insufficient evidence showing how the image had been created.
By doing so, the court effectively introduced an important principle for AI-generated works. The party seeking protection must be able to document how the AI tool was used. In other words, you must be able to document your prompts. Without such documentation, it is impossible to assess whether there has been sufficient human creativity involved in the process.
This requirement is likely to influence future cases – also in Denmark. We can expect that Danish courts will adopt a similar approach, making it a basic condition that the person seeking protection can demonstrate their own input. The same principle has already appeared in US practice. It appears to be a fundamental requirement for assessing authorship in the AI age.
In its reasoning, the Prague court went beyond the lack of documentation and addressed the legal nature of the prompt itself. The court held that the prompt allegedly used to generate the image could, at most, be considered the idea behind the image and not a protectable expression. In doing so, the court applied one of the most fundamental principles in copyright law: ideas are not protected; only the specific expression of those ideas is.
This idea–expression dichotomy is a cornerstone of copyright law, not just in Denmark but globally. For example, the general idea of writing a love song is not protected. But the specific melody, lyrics and arrangement of a given love song can be protected. Likewise, the concept of depicting two people shaking hands in a business context is an unprotectable idea. What copyright protects is the concrete, creative way the concept is expressed – through composition, angle, lighting, colours and so on.
The Prague court applied this logic to prompts. It held that a prompt is simply an idea – a theme or concept used to trigger AI output – and therefore cannot itself lead to copyright protection. This is a significant conclusion. It aligns with current US practice, where the US Copyright Office has taken the same position. According to this position, copyright protection is not granted because the prompt is deemed too far removed from the final result to establish the necessary connection to a protectable creative expression.
But the question is whether this legal assessment will stand in the long term. In the Prague case, the prompt in question was quite simple and general. One could reasonably argue that it did not reflect a high degree of human creativity. But what if the prompt had been longer, more detailed, and carefully constructed to guide the AI system? What if it involved multiple iterations – a chain of prompts used to refine and shape the output over time?
By concluding that a prompt is always an unprotectable idea, the court effectively closed the door on any possibility of protecting the human contribution behind AI-generated content in the form of prompts. That is a strong and categorical stance – and one that could remove the legal foundation for protection of such works altogether. This is especially significant because prompts are the very mechanism through which humans interact with generative AI. If that mechanism is legally irrelevant, the human role is effectively erased.
The US Copyright Office has taken a similar position, but with a slightly more nuanced tone. The Office has stated that current AI systems do not allow sufficient human control over the final result to support copyright protection in the form of prompts. However, the Office acknowledged that this could change. If future systems make it possible for a human to deterministically shape the output, then a prompt might move from an idea to a concrete expression.
The legal assessment in the Prague judgment – and in the US Copyright Office’s current practice – appears to rest on a central assumption: that humans cannot sufficiently control or predict the output of generative AI. If a user prompts an AI system to “create an image of a cat wearing a hat”, they have little or no control over how the cat will look, what kind of hat it will wear, the style, the colours or the overall composition. The process is, at least in part, driven by randomness and algorithmic choices made by the system itself.
However, this view deserves closer scrutiny. It is true that early AI systems produced highly unpredictable results. But unpredictability is not unique to AI. Many traditional art forms involve significant elements of chance or randomness – and are still protected under copyright. Abstract expressionist painters famously poured or splattered paint onto a canvas with limited control over the final result. Other artists have used their bodies, rolling or pressing themselves against the canvas while covered in paint. These processes are not fully deterministic either. Yet the resulting works are protectable, because the overall concept, method and execution reflect a personal creative intention.
The same logic could arguably apply to (some use of) AI. Even if the precise outcome cannot be predicted in advance, the user’s input – the design of the prompt, the choice of model, the iterative refinement – may in some cases amount to a creative process. Importantly, the technology is evolving very quickly. Since the Prague court issued its ruling and the US Copyright Office published its report, AI systems have already become far more responsive and controllable. Users can now guide the output with increasing precision.
This development weakens the argument that all AI outputs are too detached from human prompts to qualify for protection. As control increases, so does the legal relevance of the human role – and the line between unprotected idea and protected expression may need to be redrawn.
Whether Danish courts will adopt the same strict approach as the Prague court and the US Copyright Office remains to be seen. But the case clearly illustrates the direction some jurisdictions are moving – and the legal challenges that lie ahead.
US case law
There is already a growing body of US practice in this area, and both the courts and the US Copyright Office have generally been reluctant to grant protection to AI-generated output. The main reason is the lack of human authorship in the creation of the underlying content. However, the US Copyright Office has acknowledged that protection may still be possible in cases where a human takes AI-generated elements – such as text, music, video or code – and arranges them in a sufficiently creative way.
This is comparable to how copyright may arise in a compilation of works that are no longer protected. For example, a person may not hold rights in individual poems by Shakespeare or texts from the public domain but can still obtain copyright in the way those texts are selected, arranged and presented if the compilation reflects personal creative choices. The protection does not cover the underlying material, but the structure and expression added by the compiler.
The same logic can be applied to AI-generated content. While the individual AI outputs may not be protected on their own, a human-made selection or combination of them can enjoy protection provided it meets the originality threshold.
In the following sections, I review two of the most significant US decisions on AI-generated content.
Zarya of the Dawn
In February 2023, the US Copyright Office issued a decision in a case concerning the comic book Zarya of the Dawn. The key question was whether images created using the AI tool MidJourney could be protected by copyright. The Office concluded that they could not, since the images did not meet the originality requirement, because the artist did not have sufficient control over the final result.
The decision rested on how MidJourney works. The system generates images through algorithms based on user prompts, but the process is highly unpredictable. Users cannot foresee or determine exactly what the output will be. That lack of control meant that the images could not be attributed to the artist as a personal creative expression.
This unpredictability sets MidJourney apart from traditional editing tools. In conventional tools like Photoshop, users have complete control over the editing process, allowing them to anticipate the final outcome. It is this very control and predictability that, according to the US Copyright Office, qualifies the work as an original creative effort from the artist.
In Zarya of the Dawn, the US Copyright Office therefore determined that AI-generated images could not be seen as expressions of the artist’s own creative effort. The process lacked the necessary human authorship. The decision reflects a strict line: when the outcome is governed by algorithms and chance – and not by human choices – copyright protection cannot be granted.
Théatre D’Opéra Spatial
In September 2023, the Copyright Review Board made a decision concerning the copyright protection of the image ‘Théatre D’Opéra Spatial’. Similar to Zarya of the Dawn, the applicant used the AI program MidJourney to create the image. However, the applicant engaged extensively with the program, entering at least 624 prompts to produce the final image. The image even won an art competition at the Colorado State Fair in 2022.
The Copyright Review Board concluded that the image did not fulfil the criteria for copyright protection despite the numerous prompts. This was partly justified thus: “And because the authorship in the MidJourney Image is more than de minimis, Mr. Allen must exclude it from his claim… Because Mr. Allen has refused to limit his claim to exclude its non-human authorship elements, the Office cannot register the Work as submitted.”
Once again, the absence of documentation on how AI was used led to a rejection. This mirrors the approach seen in European case law, where lack of transparency about the creative process has also resulted in denial of protection. The case also reaffirms a key principle from the US Copyright Office, according to whom prompts are considered unprotectable ideas, regardless of how many are used. Even with over 600 prompts, the human contribution was not seen as sufficient to warrant copyright protection for the final image.
Chinese case law
Chinese courts have taken a notably different approach to AI-generated content, even in cases with facts similar to those examined in the USA and Europe. In several decisions, Chinese courts have granted copyright protection where Western authorities have rejected it. Below, I highlight the most significant ruling to date from the Chinese judiciary.
Spring Breeze Brings Tenderness
The case concerned the possible copyright protection of the image ‘Spring Breeze Brings Tenderness’, created in February 2023 using the AI tool Stable Diffusion.
To assess whether the image qualified for protection, the court conducted a detailed examination of how AI image generation works. The court noted, among other things, that individuals creating images with AI programs lack precise control over the final appearance of the image. Therefore, AI programs differ significantly from traditional artistic creation processes, which offer more control and predictability.
Despite this, the court placed weight on the user’s role in formulating prompts. In this case, the user had not only crafted an initial prompt but had also refined the image through several subsequent prompts.
The court recognised the creativity involved in crafting prompts, including the choice of words, sequence, and setting of parameters, as a reflection of human creativity. This was deemed sufficient for copyright protection. Interestingly, the court’s considerations mirrored those in American cases but led to a different conclusion. In the Chinese case, the emphasis was on the creative choices in prompts, which were decisive despite the element of chance in the outcome.
As a result, the court held that copyright should be granted to the user, not the developer of the AI system. Importantly, the court did not regard prompts as mere ideas. In doing so, Chinese practice departs from the approach taken in the USA and Europe, where prompts have so far been classified as unprotectable ideas.
Summary
As outlined above, there is currently no international consensus on whether AI-generated material can be granted copyright protection. In jurisdictions such as the USA (and the Czech Republic), protection has been denied in several cases, primarily due to the perceived lack of human control over the final output. In contrast, Chinese courts have taken a different approach and granted protection in similar factual situations, placing greater emphasis on the creative input involved in formulating prompts.
Many rulings underline that the AI generation process is often characterised by unpredictability. A user cannot fully anticipate the outcome of a prompt, which may weigh against protection. At the same time, some decisions have acknowledged that users can exercise creativity in how prompts are constructed and combined.
The legal situation remains unresolved in Denmark. Purely AI-generated “works” will, in all likelihood, not qualify for copyright protection. The key question is whether, and under what conditions, protection can be granted when AI is used as a tool or assistant in the creative process. Danish courts have not yet addressed whether AI-assisted content can meet the originality requirement in the Danish Copyright Act.
It is similarly uncertain whether Danish courts would follow the restrictive approach taken in the USA and the Czech Republic – or the more expansive Chinese interpretation. Ultimately, the decisive interpretation may come from the Court of Justice of the European Union, as copyright law in Denmark is harmonised through EU law.
One key issue is whether prompts should be regarded as mere ideas, which are unprotectable under copyright law. While simple prompts may not meet the originality threshold, it remains open whether more detailed and creative sequences – such as hundreds of carefully constructed prompts – can be equated with pure ideas.
The development of AI systems is moving quickly, and users are gaining increasingly precise control over the final output. As the link between prompt and result becomes more direct, the legal weight of the human input may increase.
In any case, users seeking copyright protection for AI-assisted works should expect to bear the burden of proof. This includes the ability to document the creative process and demonstrate how the AI tool was used – including the prompts. Without such documentation, courts may find it difficult to assess whether the originality requirement is met.
The topic is further discussed in the book Entertainmentretten, which also covers other AI-related issues such as AI-generated infringements, deepfakes and more.
Axel Towers, Axeltorv 2
1609 København V
Denmark
+45 33 41 41 41
contact@gorrissenfederspiel.com www.gorrissenfederspiel.com