It was acquired by Ulrik Frederik Gyldenløve, the illegitimate son of King Frederick III, who demolished it and had a new mansion built in its place.

Sophie Amalienborg, a royal pavilion for entertainment, had been located close by but it burned down in 1689, although it was re-built to a smaller design around the same time as Gyldenløve completed his mansion.

When Frederiksstaden was founded a few years prior to Danneskiold-Laurvig's death, a number of mansions were built in the area, particularly along Bredgade, one of the new district's main arteries, gradually urbanizing the environs.

The mansion then became the focal point of a minor scandal when the brother, Count Christian Conrad Danneskiold-Laurvigen, abducted a young actress, Mette Marie Rose, whom he had fallen for, and hid her in the house.

Danneskiold-Laurvigen was sent exiled to his fief in Norway and had to pay a penalty of 10,000 Danish rigsdaler to a noble cause plus an annual compensation to the girl.

[2] When Conrad Danneskiold-Laurvigen died in Norway in 1783, the mansion was acquired by Frédéric de Coninck and Niels Lunde Reiersen, two affluent business partners who had created a large trading company with a fleet of 70 ships.

His wife was the writer and salonist Friederike Brun who had a large international network which included prominent names such as Johann Wolfgang von Goethe, Friedrich Schiller, August Wilhelm Schlegel, Johann Gottfried Herder, Wilhelm Grimm, Bertel Thorvaldsen, and the Swiss writer Madame de Staël with whom she formed a close friendship.

Among the Danish artists who regularly attended her salons were Jens Baggesen, Adam Oehlenschläger, Johanne Luise Heiberg, C.E.F Weyse, B. S. Ingemann and Kamma Rahbek.

Their home also exerted a special pull on young students from the nearby Regensen dormitory due to the family's five pretty daughters.

Regular guests included the poet Christian Winther, who eventually married the oldest daughter of the house, Julie, after repeated complications.

The side on Dronningens Tværgade was originally considerably shorter but was extended by seven bays at the end of the 19th century in a style matching the rest of the building.

[5] The rich sandstone decorations, with elephants, lion's heads and flowering vines, and the balustrade with sculptures date from Krieger's alterations.