{"title":"ALL ITEMS","description":"","products":[{"product_id":"art-objectq-color","title":"ART OBJECT (Q-COLOR)","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis piece is made with a special translucent pale blue \"Q-color\" glass developed by Iittala, which produces a unique brilliance when light passes through it. \u003cbr\u003eWorks using \"Q-color\" glass were designed around 1948-1951, and this piece is also presumed to have been designed during this period.\n\u003c\/p\u003e\n\u003cp\u003e\nA white version is held in the EMMA Tapio Root Foundation collection, and a green version in the Kakkonen collection, but neither collection provides details such as a product number. Furthermore, it is not featured in \"eye, hand and thought,\" the comprehensive book on TAPIO WIRKKALA.\n\u003c\/p\u003e\n\u003cp\u003e\nA very rare piece.\u003cbr\u003eNo cut signature.\u003cbr\u003e*It is in good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His activities became full-fledged after winning the Karhula-Iittala glass design competition in 1946, and he established a global reputation with his exhibition design for the Finnish Pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-off art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and practical items.\u003cbr\u003e\n    Through a sculptural beauty based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" and he practiced a unique design process that involved meticulously examining forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL264","offer_id":48489688989936,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL264_1.jpg?v=1765518083"},{"product_id":"art-objectq-color-3266","title":"ART OBJECT (Q-COLOR) 3266","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nDesigned in 1947 and manufactured from 1948 to 1951.\u003cbr\u003e\nThis is one of the earliest pieces designed for IITTALA.\u003cbr\u003e\nArt Object 3266 was available in yellow and purple color variations, but this is a rare piece made using \"Q color\" glass, which was used in other works during the same period.\u003cbr\u003e\n\"Q color\" is a special glass developed by Iittala that emits a unique iridescence when light passes through it.\n\u003c\/p\u003e\n\u003cp\u003e\nThe absence of a cut signature is likely due to an area of color cloudiness on the side.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the 1951 Milan Triennale.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal craftsmanship, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced items to one-off art glass and sculptures, seamlessly blending different realms such as nature and geometry, craftsmanship and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistic expression and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" practicing a unique design process involving hundreds of sketches, thorough verification of forms through model making, and repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL316","offer_id":48489816162544,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL316_1.jpg?v=1765518268"},{"product_id":"art-object-3538","title":"ART OBJECT 3538","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1952 to 1955.\u003cbr\u003e\nThis is one of the pieces using the comb-cut technique, introduced in 1952 as a new surface decoration method following the line cut used in his representative work \"Kantalelli\" and others.\u003cbr\u003e\nComb-cutting is a technique where parallel grooves are carved at a pitch similar to that made by a comb.\n\u003c\/p\u003e\n\u003cp\u003e\nThis piece was manufactured by mold-blowing, with comb cuts applied to the outer surface.\u003cbr\u003e\nThe cut signature reads \"TAPIO WIRKKALA - IITTALA - 55\", indicating it was manufactured in 1955.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures to lead Finnish design to international success and a leading designer of the 20th century.\u003cbr\u003e\n    His career gained momentum after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to unique art glass and sculptures, seamlessly blending seemingly disparate areas such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch\"; he practiced a unique design process involving meticulous examination of forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wood sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL252","offer_id":48496065839344,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL252_1.jpg?v=1765526739"},{"product_id":"salt-bowl-3269","title":"SALT BOWL 3269","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1952 to 1955.\u003cbr\u003e\nThis is one of the pieces that utilizes the comb-cut technique, a new surface decoration method introduced in 1952, following the line-cut technique used in representative works such as \"Kantalelli.\"\u003cbr\u003e\nComb-cut is a technique of carving parallel lines with a pitch as if cut with a comb.\n\u003c\/p\u003e\n\u003cp\u003e\nThis small bowl, made by free-blowing, features comb-cuts on its sides and sandblasting on its bottom.\u003cbr\u003e\nIt is the smallest art piece made of glass.\u003cbr\u003e\nThe cut signature is \"TAPIO WIRKKALA IITTALA.\"\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures who led Finnish design to international success and is one of the most representative designers of the 20th century.\u003cbr\u003e\n    His activities began in earnest after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with his exhibition design for the Finnish Pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to unique art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craftsmanship and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    He united artistry and industrial production at a high level through his profound understanding of materials and the resulting sculptural beauty.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" as he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process involving repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL224","offer_id":48496076816624,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL224_1.jpg?v=1765526861"},{"product_id":"art-object-ashtray-ice-breaker-3318","title":"ART OBJECT \/ ASHTRAY \"ICE BREAKER\" 3318","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1963 to 1974 and from 1986 to 1987.\u003cbr\u003e\nThis piece depicts various sizes of icebergs and drift ice floating on the sea surface, represented by stud-like triangular cones on a base approximately 30mm thick.\n\u003c\/p\u003e\n\u003cp\u003e\nComes with original box.\u003cbr\u003e\nThe absence of a cut signature is presumed to be because there are three fewer triangular cones on the bottom surface, making it a second-quality item.\u003cbr\u003e\n*In good condition with no noticeable damage. The original box has some wear.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most representative designers of the 20th century.\u003cbr\u003e\n    His activities intensified after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to unique art glass and sculptures, seamlessly handling diverse areas such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his profound understanding of materials, he connected artistry and industrial production at a high level with his sculptural beauty.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch,\" and he practiced a unique design process that involved thoroughly verifying forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wood sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL294","offer_id":48496115187952,"sku":null,"price":35750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL294_1.jpg?v=1765526938"},{"product_id":"art-object-ashtray-ice-breaker-3319","title":"ART OBJECT \/ ASHTRAY \"ICE BREAKER\" 3318","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1963 to 1974, and from 1986 to 1987.\u003cbr\u003e\nA work of art that depicts icebergs and floes of various sizes floating on the sea surface as stud-like triangular cones on a base approximately 30mm thick.\n\u003c\/p\u003e\n\u003cp\u003e\nThe cut signature is \"TAPIO WIRKKALA -3318\"\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures in leading Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career took off after winning the Karhula-Iittala glass design competition in 1946, and he established his international reputation with his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metalwork, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to one-off art glass and sculptures, seamlessly blending different domains such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    He connected artistry and industrial production at a high level through sculptural beauty based on a deep understanding of materials.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" and he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process that involved repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wood sculpture—at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL295","offer_id":48496184819952,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL295_1.jpg?v=1765527026"},{"product_id":"pendant-silver-moon","title":"\"SILVER MOON\" PENDANT","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nTapio Wirkkala is one of the pioneers who opened up modern design in Finnish metal craft, alongside glass.\u003cbr\u003e\nIn the field of post-war metal craft, where decorative classical styles were predominant, he, together with Bertel Gardberg, presented a new direction.\u003cbr\u003e\nHe gained attention in competitions in the late 1940s and began collaborating with Kultakeskus in 1951. Over the next 30 years, he created numerous designs, contributing significantly to the modernization of the company's collection.\n\u003c\/p\u003e\n\u003cp\u003e\nRegarding jewelry, he began designing made-to-order gold jewelry in 1966 and silver jewelry in 1970, which then became widely available to the public.\u003cbr\u003e\nThis is a pendant from \"Silver Moon,\" one of his representative silver jewelry pieces designed in 1970.\u003cbr\u003e\nTwo sizes of pendants and earrings were designed, and this is the smaller pendant, an original manufactured in 1971 at Westerback's workshop in Helsinki.\n\u003c\/p\u003e\n\u003cp\u003e\nSterling silver (925).\u003cbr\u003e\nThe size, manufacturing method, craftsmanship, and material thickness differ from the pendants reissued by Kultakeskus in later years.\u003cbr\u003e\n*The outermost ring is slightly distorted, but otherwise, it is in good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His activities intensified after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to unique art glass and sculptures, seamlessly blending different domains such as nature and geometry, craft and industrial production, and art and practical items.\u003cbr\u003e\n    Through sculptural beauty based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" where he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process involving repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix at the Milan Triennale in three categories: exhibition, glass, and wood sculpture (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"SILVER \/ TWMS008","offer_id":48496289710320,"sku":null,"price":187000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWMS008_1.jpg?v=1765527202"},{"product_id":"kartano-universal-glass-2138","title":"\"KARTANO\" UNIVERSAL GLASS 2138","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nDesigned in 1978 and manufactured from 1979 to 1983.\u003cbr\u003e\nIt features a rounded form similar to \"Primavera,\" which was released in the same year, and a distinct design with a round, raised center at the bottom.\u003cbr\u003e\nThis glass is of a good size, manufactured by blowing into a mold.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures who led Finnish design to international success and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career truly took off after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to unique art glass and sculptures, seamlessly blending different domains such as nature and geometry, craft and industrial production, and art and practical objects.\u003cbr\u003e\n    Through sculptural beauty based on a deep understanding of materials, he brought together artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch\"; he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process that involved repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wooden sculpture) at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL304","offer_id":48496685744368,"sku":null,"price":7150.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL304_1.jpg?v=1765527712"},{"product_id":"ice-breaker-double-old-fashioned-2035","title":"\"ICE BREAKER\" DOUBLE OLD FASHIONED 2035","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis tumbler series was released in 1968 as a product model of the Art Object\/Ashtray \"Jäänsärkijä (ICE BREAKER)\" 3318, which was designed in 1963.\u003cbr\u003eIt was manufactured from 1968 to 1974, and from 1986 to 1987.\u003cbr\u003eThe thick base features a design of various sizes of icebergs and drift ice floating on the water surface, depicted as triangular pyramids.\u003cbr\u003eIt was one of the works exhibited at the Milan Triennale in 1968.\u003cbr\u003e*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures in leading Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His work truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metalwork, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-of-a-kind art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistry and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch,\" and he implemented a unique design process that involved drawing hundreds of sketches, creating models to thoroughly examine forms, and repeatedly making prototypes.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wooden sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL307","offer_id":48496762290416,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL307_1.jpg?v=1765527809"},{"product_id":"bubble-vase-sh122","title":"\"BUBBLE\" VASE SH122","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This piece is named \"BUBBLE.\"\u003cbr\u003e\n    It was designed in 1955 and manufactured from 1956 to 1961.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    It is an art piece with an inner casing of blue-violet colored glass and air bubbles of turquoise colored glass encased in the lower part.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is \"S. Hopea Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    Manufactured in 1961.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"BLUE \/ SRHP440","offer_id":48501999960304,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP440_1.jpg?v=1765535143"},{"product_id":"candle-holderyellow-sh133","title":"CANDLE HOLDER (YELLOW) SH133","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This candle holder was designed in 1958 and manufactured between 1958 and 1960.\u003cbr\u003e\n    It is a heavy glass art piece with ground and polished yellow cased glass.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The yellow colored glass extends from the outer bottom to about 70% of the way up, with the rest being clear glass.\u003cbr\u003e\n    The appearance changes with the angle due to light reflection and refraction.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is 'S.Hopea Nuutajärvi Notsjö -58', indicating it was manufactured in 1958.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP408","offer_id":48503046373616,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP408_1.jpg?v=1765536644"},{"product_id":"srhp443","title":"BOWL(CLEAR) 1367-130","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eSaara Hopea’s glass bowl, designed in 1952.\u003c\/p\u003e\n\u003cp\u003eA simple mold-blown bowl produced in four size variations. Sizes other than the 110 mm version were made only in clear glass. In 1955, Kaj Franck designed a teak tray to accompany the 110 mm bowl, and the combination was also sold as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eThis example is the 130 mm bowl, the second-smallest size. A rare model.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"CLEAR \/ SRHP443","offer_id":48503902601456,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP443_1.jpg?v=1765537793"},{"product_id":"veikko-beer-glassmoss-green-2142","title":"\"VEIKKO\" BEER GLASS (MOSS GREEN) 2142","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the 'VEIKKO' stemware series, designed in 1959, Saara Hopea's last year at Nuutajärvi.\u003cbr\u003eIt is one of the many stemware pieces designed by Saara Hopea.\u003cbr\u003eDespite its simple design, the gently curved cup and the stem, which is neither too thin nor too thick and extends straight, give it the elegant appearance characteristic of her work.\u003c\/p\u003e\n\u003cp\u003eIt is said to have been manufactured from 1959 to 1967, but due to the small number of existing pieces, it is presumed that the actual manufacturing period was shorter.\u003cbr\u003eThe capacity is approximately 500ml when filled to the brim.\u003c\/p\u003e\n\u003cp\u003eThis is a rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003eShe studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003eThe excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003eHer work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003eFrom 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"GREEN \/ SRHP411","offer_id":48503993270512,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP411_1.jpg?v=1765538003"},{"product_id":"sarp293","title":"VASE FINLANDIA 3360","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3360, added to the FINLANDIA series in 1965 and produced from 1965 to 1970.\u003c\/p\u003e\n\u003cp\u003eThe slightly yellowish tone of the glass results from a chemical reaction between the carbonized surface of the wooden mold and the hot glass.\u003c\/p\u003e\n\u003cp\u003eThis effect could be reduced by wetting the mold during production to generate steam, but in the FINLANDIA series this was not done, as it would have interfered with the transfer of the surface texture.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA -3360.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP293","offer_id":48505125175536,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP293_1.jpg?v=1765539831"},{"product_id":"sarp296","title":"VASE FINLANDIA 3356","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3356, one of the works first introduced as part of the FINLANDIA series. It was produced from 1964 to 1970.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA - 3356.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREY \/ SARP296","offer_id":48505128485104,"sku":null,"price":82500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP296_1.jpg?v=1765539924"},{"product_id":"sarp486","title":"VASE FINLANDIA 3362","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3362, added to the FINLANDIA series in 1966 and produced from 1966 to 1970.\u003c\/p\u003e\n\u003cp\u003eThe slightly yellowish tone of the glass results from a chemical reaction between the carbonized surface of the wooden mold and the hot glass.\u003c\/p\u003e\n\u003cp\u003eThis effect could be reduced by wetting the mold during production to generate steam, but in the FINLANDIA series this was not done, as it would have interfered with the transfer of the surface texture.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA -3362.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP486","offer_id":48505130877168,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP486_1.jpg?v=1765540002"},{"product_id":"sarp418","title":"ART OBJECT \"SOLAR BALL (ORANGE GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"ORANGE \/ SARP418","offer_id":48505134874864,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP418_1.jpg?v=1765540119"},{"product_id":"sarp419","title":"ART OBJECT \"SOLAR BALL (GREEN GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREEN \/ SARP419","offer_id":48505139658992,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP419_1.jpg?v=1765540230"},{"product_id":"sarp422","title":"ART OBJECT \"SOLAR BALL (GREEN GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREEN \/ SARP422","offer_id":48505145164016,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP422_1.jpg?v=1765540322"},{"product_id":"i-102-tumbler-200ml","title":"i-102 TUMBLER(GREY) 2002-20","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-102, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1956 to 1967. From 1968 to 1983, only the clear version remained in production, and from 1973 onward it was sold under the name AROMA.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GRAY \/ SARP452","offer_id":48505151160560,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP453_1.jpg?v=1776664246"},{"product_id":"i-102-tumbler-200ml-1","title":"i-102 TUMBLER(BLUE GREY) 2002-20","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-102, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1956 to 1967. From 1968 to 1983, only the clear version remained in production, and from 1973 onward it was sold under the name AROMA.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP450","offer_id":48505155846384,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP451_1.jpg?v=1776664420"},{"product_id":"sarp444","title":"i-103 TUMBLER(BLUE GREY) 2003-15","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a tumbler from the i-line series, model i-103, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP444","offer_id":48505194053872,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP445_1_41ad6d56-27d2-4e93-a5bb-074639207a2a.jpg?v=1776665866"},{"product_id":"sarp366","title":"i-104 TUMBLER(BLUE) Exhibition edition 2002","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-104, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eThis example was reissued in 2002 to commemorate Timo Sarpaneva Collection, an exhibition held at Designmuseo in Helsinki. It is engraved “Exhibition edition 2002 Timo Sarpaneva.”\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003ei-104 was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP366","offer_id":48505205194992,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP366_1.jpg?v=1765541836"},{"product_id":"sarp411","title":"i-106 TUMBLER(LILAC GREY) 2006-12","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-106, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1957 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt features a stackable design.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP411","offer_id":48505224364272,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP412_1.jpg?v=1776666207"},{"product_id":"sarp433","title":"i-114 TUMBLER(BLUE GREY) 2014-10","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-114, a tumbler from the i-line series, designed in 1958.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1959 to 1970.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP433","offer_id":48505232785648,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP434_1.jpg?v=1776666494"},{"product_id":"sarp309","title":"\"JURMO\" SHERRY GLASS 2133-011","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eDesigned in 1978 and produced from 1980 to 1983.\u003c\/p\u003e\n\u003cp\u003eThis glassware series takes its name, JURMO, from one of the archipelago islands lying between the Finnish coast and the open sea.\u003c\/p\u003e\n\u003cp\u003eIts beautiful, gently curving form was inspired by pebbles shaped and polished over time by seawater during a journey to Jurmo.\u003c\/p\u003e\n\u003cp\u003eA rare model.\u003c\/p\u003e\n\u003cp\u003eProbably unused and in excellent condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP309","offer_id":48505245991152,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP309_1.jpg?v=1765542347"},{"product_id":"sarp408","title":"i-104 TUMBLER(LILAC GREY) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP408","offer_id":48505253036272,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP408_1.jpg?v=1765542673"},{"product_id":"sarp394","title":"i-104 TUMBLER(CLEAR) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva, and the clear glass version is a rare color variation.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP394","offer_id":48505258213616,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP394_1.jpg?v=1765542589"},{"product_id":"punch-ladle-1927-210mm","title":"PUNCH LADLE 1927 210mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963, and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook onto the rim of the bowl.\u003cbr\u003eIn 1963, a punch glass (1736) was designed, and this design was carried over to its handle.\u003cbr\u003eA rare item.\u003cbr\u003eImage 9, right.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1791","offer_id":48590636515568,"sku":null,"price":14850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1791_1.jpg?v=1765779796"},{"product_id":"punch-ladle-1927-195mm","title":"PUNCH LADLE 1927 195mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963 and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook over the rim of the bowl.\u003cbr\u003eIn 1963, a glass punch bowl (1736) was designed, incorporating this handle design.\u003cbr\u003eA rare item.\u003cbr\u003eLeft side of image 9.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1891","offer_id":48590913274096,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1891_1_9c554415-df22-4370-a1eb-49433fcc1006.jpg?v=1765780222"},{"product_id":"cocktail-glass-1119-009","title":"COCKTAIL GLASS (OLIVE) 1119-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A cocktail glass designed by Kaj Franck in 1956.\u003cbr\u003e\n    The design is like a simplified version of the wine glass 1111, designed in 1953, with the plate part removed.\u003cbr\u003e\n    It was available in 3 sizes and 3 colors: clear, red, and olive.\u003cbr\u003e\n    Manufactured from 1956 to 1961.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"OLIVE \/ KFGL1817","offer_id":48591321334000,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1817_1.jpg?v=1765780724"},{"product_id":"kremlin-bell-kf500-1500","title":"\"KREMLIN BELL\" KF500\/1500","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1957 and manufactured from 1957 to 1968. This is one of Kaj Franck's representative works and was one of the pieces exhibited when he won the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eInitially designed as an everyday product, its beautiful form and high degree of perfection led to its sale as an art piece after 1960. For this reason, two product numbers exist: \"1500\" for items up to 1959 and \"KF500\" for items from 1960 onwards.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a composition where function and form beautifully merge, designed to hold alcohol in the upper bottle and water in the lower carafe.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature is \"Nuutajärvi Notsjö\".\u003cbr\u003eThis particular piece was manufactured between 1965 and 1968, based on the cut signature.\u003cbr\u003eWhen held up to the light, slight water stains can be seen in the bottle section, but there is no noticeable damage, and the overall condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1869","offer_id":48591997206768,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1869_1.jpg?v=1765781711"},{"product_id":"aalto-vaseclear-9744-3031-145-wooden-mold","title":"AALTO VASE (CLEAR) 9744\/3031-145 WOODEN MOLD","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAlvar Aalto won a design competition for an exhibition at the following year's Paris World's Fair, held in 1936 by KARHULA-IITTALA,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ewith multiple sketches of asymmetrical, organic curves titled \"Leather Trousers for an Eskimo Woman.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAt the Paris World's Fair, 10 pieces manufactured by Karhula were exhibited in the Finnish Pavilion he designed, marking Alvar Aalto's first solo glass works.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn the same year, he also designed two flower vases for the Savoy restaurant, which he was in charge of the interior design for,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand one of them, model number 9750\/3030, is still a popular product manufactured today and is commonly known as the SAVOY VASE.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis is model number 9744\/3031, 145mm high, manufactured using a wooden mold.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSince there is no cut signature, the exact manufacturing date is unknown.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt is a second quality product or prototype that was not sold, either manufactured by KARHULA until 1948 (mostly without a cut signature, with some exceptions), or by IITTALA after 1949.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIITTALA also seems to have produced a limited number of items using wooden molds in the 1980s and 1990s.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is highly probable that it is the latter.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*It is in good condition with no noticeable damage.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ALVAR AALTO","offers":[{"title":"CLEAR \/ AAGL049","offer_id":48594220351728,"sku":null,"price":242000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AAGL049_1.jpg?v=1765849603"},{"product_id":"aalto-butter-dishwhite-4805","title":"\"AALTO\" BUTTER DISH (WHITE) 4805","description":"\u003cp\u003e\"Bölgeblick\" won second prize in the pressed glass category at the Karhula–Iittala glass design competition held in 1932.\u003cbr\u003e\nIt was introduced internationally early on, being exhibited in London the following year in 1933, and manufacturing began at Karhula in 1934.\u003cbr\u003e\nAt the 1936 Milan Triennale, it won the Grand Prix for exhibition design, and the \"Bölgeblick\" series was awarded a gold medal.\u003cbr\u003e\nFrom around 1937, it began to be sold as the \"Aalto\" series, named after the designer.\u003c\/p\u003e\n\n\u003cp\u003eThe name \"Bölgeblick\" is said to be related to the functionalist building \"Café Böljeblick\" that appeared at the 1930 Stockholm Exhibition, which is considered the starting point of Nordic modern design, and is regarded as a design born within the潮流 (trend) of Nordic modern design that was spreading at the time.\u003cbr\u003e\nIn Finnish, \"Aalto\" means \"wave,\" and the concentric, wave-like form has a double meaning, coinciding with the designer's name.\u003cbr\u003e\nThe distinctive stepped rings not only reflect light beautifully but also offer the practical advantage of allowing the dishes to be stacked for storage.\u003cbr\u003e\nFurthermore, they also served as a clever way to make bubbles and wrinkle-like marks, often seen in mass-produced glass at the time, less noticeable.\u003cbr\u003e\nIt continues to be manufactured at Iittala as the \"Aino Aalto\" series, and is one of the iconic products of Nordic modern design.\u003c\/p\u003e\n\n\u003cp\u003eThis is a lidded butter dish made of opaque white glass.\u003cbr\u003e\nIt was manufactured from 1952 to 1953, or in 1956.\u003cbr\u003e\nIt is extremely rare.\u003cbr\u003e\n*There is a small chip on the rim of the lid, but otherwise, it is in good condition with no noticeable damage.\u003c\/p\u003e","brand":"AINO AALTO","offers":[{"title":"WHITE \/ AINO154","offer_id":48594227953904,"sku":null,"price":132000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AINO154_1.jpg?v=1765849980"},{"product_id":"maija-dish-for-cold-cuts","title":"\"MAIJA\" COLD CUT DISH","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDesigned in 1936.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is one of the \"MAIJA\" series exhibited at the KARHULA-IITTALA glass competition for the 1937 Paris International Exposition.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is the only cold-cut glass container in the series to be commercialized.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*There are water stain-like marks near the four corners of the inner surface.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThere are crack-like marks on the top corners from manufacturing.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOther minor scratches are present, but it is generally in good condition.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AINO AALTO","offers":[{"title":"BLACK \/ AINO288","offer_id":48594229297392,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AINO288_1.jpg?v=1765850205"},{"product_id":"mug-4","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a mug with a wonderful scene that catches the eye, featuring a rugged wheel-turned finish, a beautiful form with an earthy texture, and a gradation from deep blue and green to pale purple on the front.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：TOINI MUONA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eTOINI MUONA｜1904–1987｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Toini Muona was a Finnish female ceramic artist and designer, and one of the pioneers of modern ceramics in Finland.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She majored in ceramics at the Central School of Arts and Crafts in Helsinki, studying under Alfred William Finch.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    After being hired as a decorator at Arabia in 1931, she completed her own collection in less than a year and held her first solo exhibition at the Museum of Applied Arts.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She was a key artist in the Art Department from its establishment in 1933 until 1970.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In addition to ceramics, she also worked on textile design and glass design for Riihimäen Lasi, Karhula, and Nuutajärvi, among others.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She left behind many works with organic forms created by refining asymmetry, using copper glazes that change into rich shades of red, blue, and turquoise.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year in 1874. In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, a tunnel kiln, one of the largest in the world at 112 meters long, was introduced, streamlining production and establishing a mass production system. This allowed Arabia to develop into one of Europe's leading ceramics factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director and organized Arabia's artistic activities into an art department. He created a production environment for artists, establishing a system that developed products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that its product development has involved the mutual interaction of three areas: the art department, the applied arts department, and the product design department.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The art department included Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara. Their works gained international recognition from the 1930s, contributing to the cultural aspect of Arabia and playing a significant role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the \"hotarude\" (firefly pattern) technique. Mass production began in 1950, becoming a long-selling product that continued until 1974, and received high international acclaim as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of the functionalism that spread in Scandinavia in the 1930s, Ekholm released the tableware AR series (SINIVALKO) in 1935, indicating the direction of later Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined as a designer, and along with Kaarina Aho and Ulla Procopé, promoted the renewal of product design. The Kilta series, released in 1953, was a great success as innovative modern design tableware characterized by simple geometric forms and versatility.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia boasts numerous awards since the 1930s, but especially in the 1950s at the Milan Triennale (1951, 1954, 1957), many products by designers, in addition to works by artists from the art department, received awards, establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TOINI MUONA","offers":[{"title":"TURQUOISE \/ TMCR006","offer_id":48594823807216,"sku":null,"price":99000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TMCR006_1.jpg?v=1765861591"},{"product_id":"bowl","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eMany works with similar designs were exhibited at the 1960 Milan Triennale.\u003cbr\u003e\nIt is a work that incorporates a unique design with a disc-shaped lid on the vessel.\u003cbr\u003e\nIt is estimated to be a work from around 1960.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：FRANCESCA MASCITTI-LINDH 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eFRANCESCA MASCITTI-LINDH｜1931–｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Francesca Mascitti-Lindh was born in 1931 to an Italian father and a Finnish mother.\nAfter studying for two years at an art school in Rome from 1946, she moved to Finland.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Soon after, she apprenticed at Arabia under Olga Osol, Michael Schilkin, and Kaj Franck, and studied ceramics at the School of Applied Arts from 1949 to 1953.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    At this school, she met Richard Lindh, who would later become her husband, and after graduating in 1953, they established a small studio in Helsinki. They primarily produced practical pottery.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Her works exhibited at several exhibitions caught the eye of the president of the Wärtsilä Group (Arabia's parent company), and she began working in Arabia's art department in 1955, where she remained for 34 years until 1989.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Even after retiring from Arabia, she continued to create works in her own studio, and in 2021, at the age of 90, she installed a new pottery kiln, actively continuing her creative work.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    With roots in two design cultures, Italy and Finland, she has left behind numerous original works utilizing various techniques and materials. Most of her works are art pieces, but as her only product, she designed tableware for Ginori in Italy.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer\n    Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year in 1874.\n    In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, the world's largest tunnel kiln at the time, measuring 112 meters in length, was introduced,\n    establishing production efficiency and a mass production system.\n    This allowed Arabia to develop into one of Europe's leading ceramic factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director,\n    and organized artistic activities at Arabia into an art department.\n    He created a working environment for artists and established a system to develop products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that its three departments—Art Department, Applied Arts Department, and Product Design Department—\n    collaborated in product development.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The Art Department included Toini Muona, Friedl Kjellberg,\n    Michael Schilkin, Birger Kaipiainen,\n    Rut Bryk, and Kyllikki Salmenhaara.\n    Their works gained international recognition from the 1930s, contributing to Arabia's cultural aspect\n    and playing an important role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the hotarude technique.\n    Mass production began in 1950 and it became a long-selling product until 1974,\n    receiving high international acclaim as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of functionalism spreading in the Nordic countries in the 1930s, Ekholm\n    launched the AR series (SINIVALKO) tableware in 1935,\n    setting the direction for later Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined the company as a designer,\n    and together with Kaarina Aho and Ulla Procopé,\n    he pushed for innovation in product design.\n    The Kilta series, released in 1953, achieved great success as\n    innovative modern design tableware characterized by its simple geometric forms and versatility.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia has received numerous awards since the 1930s, especially at the Milan Triennales in the 1950s\n    (1951, 1954, 1957),\n    where many products by designers, in addition to works by artists from the art department, received awards,\n    establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRANCESCA MASCITTI-LINDH","offers":[{"title":"BROWN \/ FMLC004","offer_id":48594828951792,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FMLC004_1.jpg?v=1765862498"},{"product_id":"relief-butterflies","title":"RELIEF \"BUTTERFLIES\"","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eIn the early 1950s, Rut Bryk embarked on a new technique using plaster molds.\u003cbr\u003e\nThis allowed for the creation of works with the same design, but each unique through various glaze combinations and embossed decorations.\u003cbr\u003e\nThis particular piece, one of the reliefs featuring the \"Butterfly\" motif designed in 1957 using this plaster mold technique, was unveiled at the Finnish Pavilion of the 1958 Brussels World's Fair.\u003cbr\u003e\nWhile there were butterfly-themed works before this relief, 1957 was also the year her father, Felix, a painter and lepidopterist, passed away. This series of reliefs can be seen as Bryk expressing her various feelings for her father through her art.\u003c\/p\u003e\n\n\u003cp class=\"ex-text-01\"\u003eTwo butterflies are arranged on a pastel pink glaze, with embossed decorations on the sides and other areas.\u003cbr\u003eThe back is glazed in blue.\u003cbr\u003e\n*There is damage to the corners of the sides. Other than this, the piece is glossy overall, with no scratches, and is in very good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：RUT BRYK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eRUT BRYK｜1916–1999｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Rut Bryk was a Finnish female designer and artist.\n    She majored in graphic art at the Central School of Arts and Crafts, and after graduating, she worked as a graphic artist, producing illustrations and textile designs.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1942, she was invited by Kurt Ekholm, the art director of ARABIA's art department, to join as an apprentice, and subsequently worked as an artist in the art department for approximately 50 years.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Her husband, whom she married in 1945, was Tapio Wirkkala, a leading Finnish designer who later achieved great success with Iittala and other companies.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    At the Milan Triennale, she received the Grand Prix with her husband in 1951 and an honorable mention in 1954.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She left behind many works that used ceramic clay as an innovative and unique expressive medium, and is one of the artists who spearheaded modernism in Finland.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year, 1874.\n    In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, a tunnel kiln, one of the largest in the world at 112 meters long, was introduced,\n    establishing efficient production and mass production systems.\n    This led to Arabia's development into one of Europe's leading ceramic factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director,\n    and he organized Arabia's artistic activities into an art department.\n    He created a production environment for artists and established a system to develop both products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that product development has been carried out through the interaction of three fields:\n    the art department, the applied art department, and the product design department.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Artists such as Toini Muona, Friedl Kjellberg,\n    Michael Schilkin, Birger Kaipiainen,\n    Rut Bryk, and Kyllikki Salmenhaara participated in the art department.\n    Their works gained international recognition from the 1930s, contributing to Arabia's cultural aspect and\n    playing an important role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the rice-grain technique.\n    Mass production began in 1950, becoming a long-selling product until 1974,\n    and was highly acclaimed internationally as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of functionalism spreading in the Nordic countries in the 1930s,\n    Ekholm unveiled the AR series (SINIVALKO) tableware in 1935,\n    showing the direction of future Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined as a designer, and together with\n    Kaarina Aho and Ulla Procopé,\n    he promoted the renewal of product design.\n    The Kilta series, released in 1953, featuring simple geometric forms and versatility,\n    achieved great success as innovative modern design tableware.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia boasts numerous awards since the 1930s, especially at the Milan Triennale in the 1950s\n    (1951, 1954, 1957),\n    where many products by designers, in addition to works by artists from the art department, also received awards,\n    establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"RUT BRYK","offers":[{"title":"PINK \/ BRYK006","offer_id":48594839863536,"sku":null,"price":770000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/BRYK006_1.jpg?v=1765862981"},{"product_id":"goblet","title":"GOBLET","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a goblet created in her own studio.\u003cbr\u003eIt is a piece made by joining two cups, created on a potter's wheel, at their bases.\u003cbr\u003eThe handwritten signature is \"AHO\", and although faint, there is a stamp that says \"MADE IN FINLAND\".\u003cbr\u003eIt is a rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAARINA AHO | 1925–1990 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    After graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Early in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Alongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"WHITE \/ KAHO014","offer_id":48594861621488,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAHO014_1.jpg?v=1765864892"},{"product_id":"goblet-1","title":"GOBLET","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a goblet created in the artist's own studio.\u003cbr\u003eIt is made by joining two thrown cups at their bases.\u003cbr\u003eThe signature is handwritten \"AHO,\" and although indistinct, a stamped \"MADE IN FINLAND.\"\u003cbr\u003eIt is a rare item.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAARINA AHO | 1925–1990 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eKaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAfter graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eEarly in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAlongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"WHITE \/ KAHO015","offer_id":48594864210160,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAHO015_1.jpg?v=1765865172"},{"product_id":"kaho016","title":"GOBLET","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis goblet was made in her own studio.\u003cbr\u003eIt is a piece made by joining two cups, created on a potter's wheel, at their bases.\u003cbr\u003eThe signature is handwritten \"AHO,\" and although indistinct, there is a \"MADE IN FINLAND\" stamp.\u003cbr\u003eA rare item.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAARINA AHO | 1925–1990 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eKaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAfter graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eEarly in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAlongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"WHITE \/ KAHO016","offer_id":48594866241776,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAHO016_1.jpg?v=1765865272"},{"product_id":"cup","title":"CUP","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis cup was made on a potter's wheel in the artist's own studio.\u003cbr\u003eIt is made from a coarse clay, similar to red clay mixed with grog. After applying slip, it was fired with a transparent glaze.\u003cbr\u003eThe transparent glaze covers the inside and the upper 70% of the outside.\u003cbr\u003eThe signature reads 'AHO MADE IN FINLAND', making it a rare piece.\u003cbr\u003e*There are several glaze chips on the rim.\u003cbr\u003eI selected this piece from about 20 similar works, and since all of them had glaze chips, I concluded that this is a characteristic of this artist's work.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAARINA AHO | 1925–1990 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eKaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAfter graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eEarly in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAlongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"BROWN \/ KAHO017","offer_id":48594867519728,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAHO017_1.jpg?v=1765865395"},{"product_id":"natural-glaze-bowl","title":"NATURAL GLAZE BOWL","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\nThis piece was made on a potter's wheel in her own workshop.\u003cbr\u003e\nIt is a rare natural glaze piece for a Finnish artist.\u003cbr\u003e\nThe handwritten signature is \"KAA\", likely the initials of Kaarina Antintytär Aho, including her middle name. It is extremely rare.\u003cbr\u003e\n*There is a small, thin chip on the foot rim.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAARINA AHO | 1925–1990 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    After graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Early in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Alongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"GREEN \/ KAHO020","offer_id":48599283237104,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAHO020_1.jpg?v=1765865697"},{"product_id":"object","title":"ITEM","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eIt has a Nuutajärvi sticker, but no cut signature.\u003cbr\u003eIt is probably a prototype.\u003cbr\u003eBased on the feel of the glass and the style of the work, it is presumed to be by Oiva Toikka.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA049","offer_id":48594873876720,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA049_1.jpg?v=1765866119"},{"product_id":"vase","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no clear evidence regarding Nuutajärvi Boutique, based on various information currently available, it is presumed to be prototypes or works created for events that were sold only at the Nuutajärvi gallery\/shop in Helsinki during the 1970s.\u003cbr\u003eThe works feature a special sticker with a pink logo and \"Boutique\" printed in silver, and do not have cut signatures.\u003cbr\u003eIt is believed that this was also an opportunity to gauge reactions and receive feedback on the works purely as art, through the sale of prototypes without revealing the designers' names.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece consisting of stacked cubes of different sizes.\u003cbr\u003eJudging from the style and later announced works, this piece is likely designed by Oiva Toikka.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA048","offer_id":48594875646192,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA048_1.jpg?v=1765866364"},{"product_id":"paperweight","title":"Paperweight","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A work designed by Oiva Toikka.\u003cbr\u003e\n    A paperweight with two cast glass pieces (only one side features a fish motif) welded together using the same manufacturing method as the OT1 (FISH) designed in 1964, with a polished surface finish.\u003cbr\u003e\n    The cut signature is \"Nuutajärvi Notsjö.\"\u003cbr\u003e\n    Based on the cut signature and the Nuutajärvi sticker, it is presumed to have been manufactured between 1965 and 1970.\u003cbr\u003e\n    A rare item.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\n  \u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\n  \u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\n  \u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\n  \u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\n  \u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA047","offer_id":48594876301552,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA047_1.jpg?v=1765866545"},{"product_id":"gobletunique-piece","title":"GOBLET (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA unique goblet by Oiva Toikka.\u003cbr\u003eWhile details are unknown, the glass is similar to that used in IGLU (1973), PUTELI (1975), and PIENNAR (1975), characterized by its coarse bubbles.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eOiva Toikka received the Lunning Prize in 1970, and with the prize money, he embarked on a four-month journey, traveling through East Africa (Kenya, Tanzania, Uganda) and subsequently Central and South America (Brazil, Ecuador, Mexico, Peru).\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis glass was inspired by the glass he saw in Mexico, which was made from impure materials using primitive equipment.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt is presumed to have been designed between 1973 and 1975.\u003cbr\u003eThe cut signature is \"Oiva Toikka Nuutajärvi Notsjö.\"\u003cbr\u003eThis is an extremely rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA044","offer_id":48594877153520,"sku":null,"price":275000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA044_1.jpg?v=1765866721"},{"product_id":"bowl-1","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA simple form vessel by Kupittaan Savi.\u003cbr\u003eManufactured in the 1950s.\u003cbr\u003eA rustic vessel with an uneven, semi-matte yellow glaze.\u003cbr\u003eEngraved with \"MADE IN FINLAND.\"\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Ritva Karpio 基本コード  --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKUPITTAAN SAVI｜1921–1969｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKupittaan Savi was a Finnish ceramics manufacturer founded in 1921 in the historic city of Turku. The company remained in operation until 1969.\u003c\/p\u003e\n\u003cp\u003eKupittaan Savi’s works are characterized by mold-made forms finished with hand-applied decoration. Many decorators and young artists contributed to its production, creating pieces with floral, figural, and animal motifs. Because each piece was decorated by hand, even works of the same model have their own individual character. This gives Kupittaan Savi ceramics a distinctive sense of warmth and individuality.\u003c\/p\u003e\n\u003cp\u003eWhile Arabia, one of Finland’s best-known ceramic manufacturers, focused on large-scale industrial production, Kupittaan Savi operated on a smaller scale and emphasized handcrafted decoration. As a result, the company produced ceramics with a rustic, warm, and gently pastoral character. These qualities remain central to the appeal of Kupittaan Savi today.\u003c\/p\u003e\n\u003cp\u003eIn 1949, Marjukka Paasivirta became art director and, together with designers such as Linnea Lehtonen and Okki Laine, developed products that reflected the growing trend toward simple and functional modern design. At the 1954 Milan Triennale, works by Marjukka Paasivirta, Linnea Lehtonen, and Orvokki Laine each received a silver medal. This helped establish Kupittaan Savi’s international reputation. In the early 1960s, Heidi Blomstedt also designed for Kupittaan Savi, creating elegantly refined forms including striking vases.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"UNKNOWN","offers":[{"title":"YELLOW \/ KPSV036","offer_id":48594920898800,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KPSV036_1.jpg?v=1765868098"},{"product_id":"bowl-2","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA simple form vessel by Kupittaan Savi.\u003cbr\u003eManufactured in the 1950s.\u003cbr\u003eA rustic vessel with a mottled, pale emerald green glaze on red clay.\u003cbr\u003eStamped with \"MADE IN FINLAND\".\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Ritva Karpio 基本コード  --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKUPITTAAN SAVI｜1921–1969｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKupittaan Savi was a Finnish ceramics manufacturer founded in 1921 in the historic city of Turku. The company remained in operation until 1969.\u003c\/p\u003e\n\u003cp\u003eKupittaan Savi’s works are characterized by mold-made forms finished with hand-applied decoration. Many decorators and young artists contributed to its production, creating pieces with floral, figural, and animal motifs. Because each piece was decorated by hand, even works of the same model have their own individual character. This gives Kupittaan Savi ceramics a distinctive sense of warmth and individuality.\u003c\/p\u003e\n\u003cp\u003eWhile Arabia, one of Finland’s best-known ceramic manufacturers, focused on large-scale industrial production, Kupittaan Savi operated on a smaller scale and emphasized handcrafted decoration. As a result, the company produced ceramics with a rustic, warm, and gently pastoral character. These qualities remain central to the appeal of Kupittaan Savi today.\u003c\/p\u003e\n\u003cp\u003eIn 1949, Marjukka Paasivirta became art director and, together with designers such as Linnea Lehtonen and Okki Laine, developed products that reflected the growing trend toward simple and functional modern design. At the 1954 Milan Triennale, works by Marjukka Paasivirta, Linnea Lehtonen, and Orvokki Laine each received a silver medal. This helped establish Kupittaan Savi’s international reputation. In the early 1960s, Heidi Blomstedt also designed for Kupittaan Savi, creating elegantly refined forms including striking vases.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"UNKNOWN","offers":[{"title":"GREEN \/ KPSV032","offer_id":48594930467056,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KPSV032_1.jpg?v=1765868279"},{"product_id":"bowl-3","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA large, simply shaped bowl from Kupittaan Savi.\u003cbr\u003eManufactured in the 1950s.\u003cbr\u003eHand-painted by Raili Suvanto.\u003cbr\u003eFeatures a \"MADE IN FINLAND\" stamp and \"RS\" signature.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Ritva Karpio 基本コード  --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKUPITTAAN SAVI｜1921–1969｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKupittaan Savi was a Finnish ceramics manufacturer founded in 1921 in the historic city of Turku. The company remained in operation until 1969.\u003c\/p\u003e\n\u003cp\u003eKupittaan Savi’s works are characterized by mold-made forms finished with hand-applied decoration. Many decorators and young artists contributed to its production, creating pieces with floral, figural, and animal motifs. Because each piece was decorated by hand, even works of the same model have their own individual character. This gives Kupittaan Savi ceramics a distinctive sense of warmth and individuality.\u003c\/p\u003e\n\u003cp\u003eWhile Arabia, one of Finland’s best-known ceramic manufacturers, focused on large-scale industrial production, Kupittaan Savi operated on a smaller scale and emphasized handcrafted decoration. As a result, the company produced ceramics with a rustic, warm, and gently pastoral character. These qualities remain central to the appeal of Kupittaan Savi today.\u003c\/p\u003e\n\u003cp\u003eIn 1949, Marjukka Paasivirta became art director and, together with designers such as Linnea Lehtonen and Okki Laine, developed products that reflected the growing trend toward simple and functional modern design. At the 1954 Milan Triennale, works by Marjukka Paasivirta, Linnea Lehtonen, and Orvokki Laine each received a silver medal. This helped establish Kupittaan Savi’s international reputation. In the early 1960s, Heidi Blomstedt also designed for Kupittaan Savi, creating elegantly refined forms including striking vases.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"RAILI SUVANTO","offers":[{"title":"IVORY \/ KPSV035","offer_id":48594940559600,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KPSV035_1.jpg?v=1765868621"}],"url":"https:\/\/elephant-life.com\/en\/collections\/all-items.oembed?page=3","provider":"ELEPHANT","version":"1.0","type":"link"}