{"title":"ART PIECE","description":"\u003cdiv class=\"black-text-01\" style=\"margin-top:0px;\"\u003e\n  \u003ch3 style=\"line-height:1.6; margin:0; text-transform:none;\"\u003e\n    \u003cstrong\u003eNordic Vintage Glass\u003c\/strong\u003e\u003cbr\u003e\n    From the 1930s onward\u003cbr\u003e\n    Ships worldwide from Tokyo\n  \u003c\/h3\u003e\n\u003c\/div\u003e","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":"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":"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":"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":"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":"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":"tapestry","title":"TAPESTRY, Gifted by Dora Jung to Simone Prouvé in 1954.","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece was created at her textile workshop, \"Dora Jung Textil\".\u003cbr\u003eIt was gifted by Dora Jung to Simone Prouvé, the daughter of Jean Prouvé from France and a textile artist herself.\u003cbr\u003eBefore becoming an independent artist, Simone Prouvé apprenticed under Alice Lund in Sweden for six months in 1953.\u003cbr\u003eThrough Lund's introduction, she then traveled to Finland and trained as a weaver under Dora Jung.\u003cbr\u003eThis is an extremely rare item.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eDORA JUNG | 1906-1980 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDora Jung was an artist of uncompromising craftsmanship, one who devoted her life to mastering materials and technique through tireless daily practice in pursuit of her own artistic vision. Working from her own weaving studio, she developed the traditional damask technique into a modern form of expression that rose to the level of art. As a designer, she was also a pioneer who helped renew Finnish linen design through her collaboration with Tampella.\u003c\/p\u003e\n\u003cp\u003eA member of the first class of the textile art department at the Central School of Applied Arts, Jung graduated in 1932 and immediately established her own weaving studio, Dora Jung Textil, in her family home. While producing damask textiles primarily for churches and commissioned projects, she was also highly active internationally from the outset of her career, exhibiting her work in major exhibitions abroad.\u003c\/p\u003e\n\u003cp\u003eThe year 1937 was especially significant for Jung. She received a gold medal at the Paris Exposition, and a major commission led to the beginning of her collaboration with Tampella, where she would later serve as artistic adviser. That same year, her work on tablecloths, napkins, and other textiles for the Savoy Restaurant, designed by Aino and Alvar Aalto, also marked the beginning of her association with Artek.\u003c\/p\u003e\n\u003cp\u003eIn 1938, she held a joint exhibition with the glass designer Gunnel Nyman, a close friend and kindred spirit from her student years. The two exhibited together again at Artek in 1947.\u003c\/p\u003e\n\u003cp\u003eAt the Linen Exhibition held at Artek in 1956, Jung presented linen products manufactured by Tampella. These works became modern linen designs that harmonized with the modern tableware emerging in the early 1950s as part of the idea of “beautiful everyday objects.”\u003c\/p\u003e\n\u003cp\u003eAmong her many honors, the most remarkable were her achievements at the Milan Triennale. She received the Grand Prix in 1951 and 1954 for works produced in her own studio, and again in 1957 for a Tampella product, accomplishing the extraordinary feat of winning the Grand Prix three times in succession. She was also awarded the Pro Finlandia medal in 1955, and in 1979 received the British honorary title Honorary Royal Designer for Industry.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"DORA JUNG","offers":[{"title":"BLACK \/ DJTX015","offer_id":48596008599792,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/DJTX015_1.jpg?v=1765887370"},{"product_id":"tapestry-1","title":"TAPESTRY, Gifted by Dora Jung to Simone Prouvé in 1954.","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis piece was created at her textile workshop, \"Dora Jung Textil\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt was gifted by Dora Jung to Simone Prouvé, daughter of the French designer Jean Prouvé and a textile artist herself.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBefore establishing herself as an independent artist, Simone Prouvé trained for six months in 1953 under Alice Lund in Sweden.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThrough Lund's introduction, she then traveled to Finland to train as a weaver under Dora Jung.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is a very rare item.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*It is in good condition with no noticeable damage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eDORA JUNG | 1906-1980 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDora Jung was an artist of uncompromising craftsmanship, one who devoted her life to mastering materials and technique through tireless daily practice in pursuit of her own artistic vision. Working from her own weaving studio, she developed the traditional damask technique into a modern form of expression that rose to the level of art. As a designer, she was also a pioneer who helped renew Finnish linen design through her collaboration with Tampella.\u003c\/p\u003e\n\u003cp\u003eA member of the first class of the textile art department at the Central School of Applied Arts, Jung graduated in 1932 and immediately established her own weaving studio, Dora Jung Textil, in her family home. While producing damask textiles primarily for churches and commissioned projects, she was also highly active internationally from the outset of her career, exhibiting her work in major exhibitions abroad.\u003c\/p\u003e\n\u003cp\u003eThe year 1937 was especially significant for Jung. She received a gold medal at the Paris Exposition, and a major commission led to the beginning of her collaboration with Tampella, where she would later serve as artistic adviser. That same year, her work on tablecloths, napkins, and other textiles for the Savoy Restaurant, designed by Aino and Alvar Aalto, also marked the beginning of her association with Artek.\u003c\/p\u003e\n\u003cp\u003eIn 1938, she held a joint exhibition with the glass designer Gunnel Nyman, a close friend and kindred spirit from her student years. The two exhibited together again at Artek in 1947.\u003c\/p\u003e\n\u003cp\u003eAt the Linen Exhibition held at Artek in 1956, Jung presented linen products manufactured by Tampella. These works became modern linen designs that harmonized with the modern tableware emerging in the early 1950s as part of the idea of “beautiful everyday objects.”\u003c\/p\u003e\n\u003cp\u003eAmong her many honors, the most remarkable were her achievements at the Milan Triennale. She received the Grand Prix in 1951 and 1954 for works produced in her own studio, and again in 1957 for a Tampella product, accomplishing the extraordinary feat of winning the Grand Prix three times in succession. She was also awarded the Pro Finlandia medal in 1955, and in 1979 received the British honorary title Honorary Royal Designer for Industry.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"DORA JUNG","offers":[{"title":"IVORY \/ DJTX016","offer_id":48596009255152,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/DJTX016_1.jpg?v=1765887926"},{"product_id":"djtx018","title":"TABLE RUNNER, Gifted by Dora Jung to Simone Prouvé in 1954.","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis work was produced in her own textile studio, \"Dora Jung Textil\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt was gifted by Dora Jung to Simone Prouvé, daughter of Jean Prouvé of France and a textile artist.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBefore becoming an independent artist, Simone Prouvé trained for six months in 1953 under Alice Lund in Sweden.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThrough Lund's introduction, she traveled to Finland and trained as a weaver under Dora Jung.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is woven from wool and linen, which is unusual for Dora Jung's works.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThere is also a similar work with a different pattern that she gifted to her close friend Gunnel Nyman.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eExtremely rare.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Good condition with no noticeable damage.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eDORA JUNG | 1906-1980 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDora Jung was an artist of uncompromising craftsmanship, one who devoted her life to mastering materials and technique through tireless daily practice in pursuit of her own artistic vision. Working from her own weaving studio, she developed the traditional damask technique into a modern form of expression that rose to the level of art. As a designer, she was also a pioneer who helped renew Finnish linen design through her collaboration with Tampella.\u003c\/p\u003e\n\u003cp\u003eA member of the first class of the textile art department at the Central School of Applied Arts, Jung graduated in 1932 and immediately established her own weaving studio, Dora Jung Textil, in her family home. While producing damask textiles primarily for churches and commissioned projects, she was also highly active internationally from the outset of her career, exhibiting her work in major exhibitions abroad.\u003c\/p\u003e\n\u003cp\u003eThe year 1937 was especially significant for Jung. She received a gold medal at the Paris Exposition, and a major commission led to the beginning of her collaboration with Tampella, where she would later serve as artistic adviser. That same year, her work on tablecloths, napkins, and other textiles for the Savoy Restaurant, designed by Aino and Alvar Aalto, also marked the beginning of her association with Artek.\u003c\/p\u003e\n\u003cp\u003eIn 1938, she held a joint exhibition with the glass designer Gunnel Nyman, a close friend and kindred spirit from her student years. The two exhibited together again at Artek in 1947.\u003c\/p\u003e\n\u003cp\u003eAt the Linen Exhibition held at Artek in 1956, Jung presented linen products manufactured by Tampella. These works became modern linen designs that harmonized with the modern tableware emerging in the early 1950s as part of the idea of “beautiful everyday objects.”\u003c\/p\u003e\n\u003cp\u003eAmong her many honors, the most remarkable were her achievements at the Milan Triennale. She received the Grand Prix in 1951 and 1954 for works produced in her own studio, and again in 1957 for a Tampella product, accomplishing the extraordinary feat of winning the Grand Prix three times in succession. She was also awarded the Pro Finlandia medal in 1955, and in 1979 received the British honorary title Honorary Royal Designer for Industry.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"DORA JUNG","offers":[{"title":"GREEN \/ DJTX018","offer_id":48596013514992,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/DJTX018_1.jpg?v=1765888333"},{"product_id":"unique-vase-1957-783-2nd","title":"UNIQUE VASE 1957 △783 2nd","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis is a unique piece, created by the artist's own hands or under their supervision through many processes, and was produced for exhibition or as per orders from important clients.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is a second-quality item, marked with a line through its unique serial number on the bottom, likely due to uneven glazing.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNormally, unique pieces that failed Stålhane's final inspection were discarded, but for some reason, this one survived.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is a weighty piece with a powerful geometric form, created in 1957.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Although there is some unevenness in the glaze, it is in good condition with no noticeable damage.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eCARL-HARRY STÅLHANE | 1920-1990 | SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eCarl-Harry Stålhane was a Swedish ceramic artist and designer. He began his career at Rörstrand in 1939 as a decorator under Gunnar Nylund. In 1943, he also worked as an assistant to Isaac Grünewald, an experience that strongly shaped the development of his early style. From 1945 onward, he worked as an independent artist within Rörstrand’s art department, focusing on stoneware, and in 1948 he held his first solo exhibition in Stockholm.\u003c\/p\u003e\n\u003cp\u003eHis early work, shaped by a wide range of influences and stylistic approaches, was received largely positively as the emergence of a major new talent, and touring exhibitions were organized throughout Sweden. During a stay in Paris from 1948 to 1949, he studied sculpture under Ossip Zadkine. He also expanded his artistic horizons through encounters with the ceramic work of Pablo Picasso and Joan Miró, and after returning to Sweden he unveiled a new direction in his 1952 solo exhibition.\u003c\/p\u003e\n\u003cp\u003eInfluenced by Chinese and other East Asian ceramics, Stålhane developed a style characterized by austere elegance, refined simplicity, and sharply disciplined form. These works were highly acclaimed and came to define his artistic identity in the 1950s. He continued to seek out new forms of expression throughout his career, producing a substantial and varied body of work. From 1954, he also designed tableware, and in the 1960s he became active in public art. Between 1963 and 1971, he taught ceramics and glass at the School of Design and Crafts in Göteborg, where he also trained younger generations of artists.\u003c\/p\u003e\n\u003cp\u003eCreated in 1964 and installed in Kansas City, USA, his monumental work Growing Country stretched to 54 meters in length. In 1973, he left Rörstrand and founded Designhuset with colleagues, where he continued working until his death in 1990. During this period, he also designed for Bing \u0026amp; Grøndahl. His many honors included an Honorary Diploma at the Milan Triennale in 1951 and a Gold Medal in 1954.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"CARL-HARRY STÅLHANE","offers":[{"title":"BROWN \/ CHSC126","offer_id":48600833818864,"sku":null,"price":275000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/CHSC126_1.jpg?v=1765969719"},{"product_id":"bowl-4","title":"BOWL L","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features an enchanting glaze, reminiscent of a waterside reflection. \u003cbr\u003eThis is the larger of the two available sizes.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"BLUE \/ ANHV013","offer_id":48601126306032,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV013_1.jpg?v=1765970871"},{"product_id":"bowl-5","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features a fantastical glaze that resembles scenery reflected on water.\u003cbr\u003eIt is the smaller of the two available sizes.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"BLUE \/ ANHV015","offer_id":48601163727088,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV015_1.jpg?v=1765971084"},{"product_id":"bottle","title":"BOTTLE","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a cuboid bottle from her time in the art department, and based on the style, it is estimated to be a work from around 1967 to 1970.\u003cbr\u003eBlue, green, and black glazes are boldly intertwined on a textured, uneven surface with a rich, earthy feel.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"GREEN \/ ANHV009","offer_id":48639493603568,"sku":null,"price":132000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV009_1.jpg?v=1766906957"},{"product_id":"soap-bubble-vasegrey-l-kf113","title":"\"SOAP BUBBLE\" VASE (GREY) L KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1951 and manufactured from 1951 to 1961. One of the earliest art glass pieces designed at Nuutajärvi.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis vase, named \"SOAP BUBBLES,\" features a simple form with slight irregularities, crafted from thin glass shaped by free-blowing. The piece stands out for its delicate design, emphasizing the texture and transparency of the material itself.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt was also exhibited at the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957. This is the larger of the two sizes produced.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature reads 'K. Franck Nuutajärvi Notsjö -61.'\u003cbr\u003eThis particular piece was manufactured in 1961.\u003cbr\u003e*There are no noticeable damages, and it is in good condition.\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 \/ KFGL1800","offer_id":48640577896688,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1800_1.jpg?v=1766920823"},{"product_id":"soap-bubble-vasegrey-kf113","title":"“SOAP BUBBLE” VASE (GREY) KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Designed in 1951 and manufactured from 1951 to 1961.\n    One of the earliest art glass pieces designed at Nuutajärvi.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Named \"SOAP BUBBLES,\" this vase features a thin glass in a simple, slightly irregular form, shaped by mouth-blowing.\n    It is a work that highlights the texture and transparency of the material itself within its light form.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This piece was also exhibited in the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957.\n    This is the smaller of the two sizes produced.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The cut signature is \"K. Franck Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    This particular piece was manufactured in 1961.\u003cbr\u003e\n    *There are no noticeable damages, and it is in good condition.\n  \u003c\/p\u003e\n\u003c\/div\u003e\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":"GREY \/ KFGL1360","offer_id":48640586121456,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1360_1.jpg?v=1766920972"},{"product_id":"black-swanunique-piece","title":"BLACK SWAN (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, started to be manufactured in Nuutajärvi in the late 1850s, following the technique of Venetian glass. Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi filigree glass is made by carefully arranging thin, elongated rods of colored glass in a wooden mold with grooves carved on the inside. Transparent glass is then blown into it and fused, while twisting it to form its shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their placement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece of a black swan made of black filigree glass. The cut signature is \"K. Franck Nuutajärvi Notsjö\". There are no noticeable damages, and the condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\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\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":"BLACK \/ KFGL1670","offer_id":48640871170288,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1670_1.jpg?v=1766929956"},{"product_id":"vaseunique-piece","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Filigree glass, which followed Venetian glass techniques, began to be manufactured in Nuutajärvi in the late 1850s.\n    Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Nuutajärvi's filigree glass is formed by carefully arranging thin, stretched rods of colored glass into a wooden mold with grooves carved on the inside,\n    then blowing transparent glass into it, fusing it, and twisting it.\n    Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a unique piece combining bubbly glass and filigree glass.\n    The cut signature reads \"Kaj Franck Nuutajärvi Notsjö 17.9.1975.\"\n    It was manufactured on September 17, 1975.\n    Normally, the manufacturing date is not included in the cut signature, so it is presumed to be a work with a special background.\n    *No noticeable damage; in good condition.\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":"BROWN \/ KFGL831","offer_id":48640872481008,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL831_1.jpg?v=1766930153"},{"product_id":"vaseunique-piece-1","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, manufactured at Nuutajärvi starting in the late 1850s, followed the Venetian glass technique. This technique was once discontinued, but Kaj Franck began working on it in the early 1950s and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi's filigree glass is made by carefully arranging thin, elongated rods of colored glass into a wooden mold with grooves carved inside. Transparent glass is then blown into the mold and fused while twisting it into shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece combining bubbly glass and filigree glass. Like KF212, the bottom is raised in a mountainous shape. The cut signature is \"Kaj Franck Nuutajärvi Notsjö\". *Although it is difficult to see in the image, there is an area on the inner surface of the mid-section that has burst along a line. This is presumed to be from the time of manufacture. 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\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":"WHITE \/ KFGL1021","offer_id":48640874086640,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1021_1.jpg?v=1766930297"},{"product_id":"vaseunique-piece-2","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck is best known for his functional products based on simple, undecorated geometric forms, yet he also designed a considerable number of unique art glass pieces employing a wide range of techniques.\u003c\/p\u003e\n\u003cp\u003eIn 1956, he remarked that the continued simplification of form alone would not lead to further artistic development, and spoke of the need for designs and works not bound by use. In 1958, he expressed a related idea, suggesting that once simplification had been taken to its limit, one began to long instead for the richness of form. These ideas led to an interest in freer sculptural expression, distinct from functional product design, and also informed his work in unique pieces.\u003c\/p\u003e\n\u003cp\u003eThis example shares the same form as Goblet N540, an art piece produced from 1972 to 1978, but is a unique piece that differs from the standard color variations. The upper section combines clear glass with a metallic champagne-gold material, the middle section is in clear glass, and the lower section is made of clear glass containing minute bubbles.\u003c\/p\u003e\n\u003cp\u003eSigned “Kaj Franck Nuutajärvi Notsjö.”\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\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":"GOLD \/ KFGL832","offer_id":48640876871920,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL832_1.jpg?v=1766930540"},{"product_id":"vase-3","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no definitive evidence regarding the Nuutajärvi Boutique, based on various information currently available, it is presumed to have been a collection of prototypes and event-specific pieces sold only at the Nuutajärvi gallery\/shop in Helsinki in the 1970s.\u003cbr\u003eThese pieces were affixed with a special sticker featuring a pink logo and \"Boutique\" printed in silver, and they did not have a cut signature.\u003cbr\u003eIt is also thought that this was an opportunity to obtain reactions and feedback on the works as pure art, through the sale of prototypes without revealing the designer's name.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece, approximately 40 cm in height.\u003cbr\u003eJudging from the style and later announced works, this piece is believed to be designed by Oiva Toikka.\u003cbr\u003e* There is a repair under a glass-covered section at the bottom.\u003cbr\u003eSince it is not a location prone to damage, it is believed to have occurred during manufacturing.\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":"BROWN \/ OIVA050","offer_id":48641389822192,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA050_1.jpg?v=1766973333"},{"product_id":"oval-vaseunique-piece","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this glass piece was one of only a few glass works exhibited.\u003cbr\u003eThe heavy, thick glass has a soft texture with a white interior and clear exterior, and is entirely frosted.\u003cbr\u003eIt was designed to harmonize with the graphical patterns of the fabrics, and its elliptical form, with gentle curves, appears to capture the movement of the fabric.\u003cbr\u003eThis work also suggests an experimental sculptural approach that led to KIVI, designed two years later in 1987, which became one of Heikki Orvola's most iconic works.\u003cbr\u003eThe cut signature is \"Heikki Orvola Nuutajärvi.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"WHITE \/ HOGL004","offer_id":48703108677872,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL004_1.jpg?v=1768014431"},{"product_id":"oval-vaseunique-piece-1","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this is one of the few glass pieces that were exhibited.\u003cbr\u003eIt features a soft texture with a frosted finish on thick, weighty blue glass.\u003cbr\u003eDesigned to harmonize with the graphical patterns of the fabrics, it is an elliptical piece with gentle curves, as if capturing the movement of the fabric.\u003cbr\u003eIt also shows an experimental sculptural quality that would lead to KIVI, one of Heikki Orvola's most famous works, which was designed two years later in 1987.\u003cbr\u003eThe cut signature reads, \"Heikki Orvola Nuutajärvi.\"\u003cbr\u003eThe sticker marked \"14\" is the exhibit number from the exhibition.\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\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"BLUE \/ HOGL005","offer_id":48703307120880,"sku":null,"price":82500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL005_1.jpg?v=1768014825"},{"product_id":"oiva051","title":"CANDLE HOLDER","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA substantial candle holder by Oiva Toikka.\u003cbr\u003eThe thick clear glass is hollow inside, with two parts—the holder and the base—joined together, and the bottom is polished.\u003cbr\u003eNo cut signature is visible, but a rare sticker remains, marked \"Nuutajärvi Notsjö Oiva Toikka.\"\u003cbr\u003eBased on the style and the sticker, it is presumed to have been manufactured in the 1970s.\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":"CLEAR \/ OIVA051","offer_id":48726274474224,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA051_1.jpg?v=1768391983"},{"product_id":"ehsp003","title":"ENGRAVED VASE(CRYSTAL) H1184","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA work in thick crystal glass, sculpted using the engraving technique.\u003cbr\u003eWhile traditional engraving was a superficial and delicate decoration created by rotating a copper disc, Erik Höglund mainly used grindstones to create deep and rough decorative expressions.\u003cbr\u003eBy deeply polishing and carving, steps are created on the surface, and the motif is expressed more sculpturally.\u003cbr\u003eFurthermore, engraving works were not drawn on paper beforehand; instead, they were drawn directly onto the glass surface and carved by his own hand.\u003cbr\u003eThis work strongly reflects the thinking of Erik Höglund as a sculptor, who studied sculpture during his student days.\u003cbr\u003e(In later years, it is said that craftsmen performed the carving based on his instructions.)\u003cbr\u003e\u003cbr\u003eThis model was designed in the early 1960s.\u003cbr\u003eIt depicts four men and women dancing, seemingly inspired by an opera scene.\u003cbr\u003eThe cut signature is \"Boda H1184 1282\".\u003cbr\u003e*In good condition with no noticeable damage.\u003cbr\u003e*Our shop issues certificates of authenticity based on our extensive experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"CLEAR \/ EHSP003","offer_id":48784986964208,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHSP003_1.jpg?v=1769951437"},{"product_id":"ehgl2417","title":"ENGRAVED BOWL ON FOOT(CRYSTAL) H852","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA work in thick crystal glass, sculpted using the engraving technique.\u003cbr\u003eWhile traditional engraving was a shallow, delicate decoration created by rotating a copper disc, Erik Höglund mainly used grindstones to create deep, rough decorative expressions.\u003cbr\u003eDeep polishing and carving created steps on the surface, making the motifs more sculptural.\u003cbr\u003eFurthermore, engraving works were not drawn on paper beforehand, but drawn directly onto the glass surface and carved by his own hand.\u003cbr\u003eThis work strongly reflects the mindset of Erik Höglund as a sculptor, who studied sculpture during his student days.\u003cbr\u003e(Later, it is said that craftsmen performed the carving based on his instructions.)\u003cbr\u003e\u003cbr\u003eThis model was designed in the late 1950s to early 1960s.\u003cbr\u003eThree charming animals are depicted.\u003cbr\u003eThe cut signature is \"Boda 852\/1279 Höglund.\"\u003cbr\u003e*In good condition with no noticeable damage.\u003cbr\u003e*Our shop issues certificates of authenticity based on our accumulated experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"CLEAR \/ EHGL2417","offer_id":48784987947248,"sku":null,"price":137500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHGL2417_1.jpg?v=1769951756"},{"product_id":"ehsp014","title":"ENGRAVED BOWL(CRYSTAL) H553","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features engravings on thick crystal glass.\u003cbr\u003e\nUnlike traditional engraving, which involves superficial and delicate decorations created by rotating a copper disc, Erik Höglund primarily used grinding wheels to produce deep, rough decorative expressions.\u003cbr\u003e\nBy deeply grinding and carving the surface, steps are created, making the motifs appear more sculptural.\u003cbr\u003e\n\nFurthermore, Höglund's engraved works were not drawn on paper beforehand but were etched directly onto the glass surface by his own hand.\u003cbr\u003e\nThis work strongly reflects the sculptural thinking of Erik Höglund, who studied sculpture during his student years.\n(In later years, it is said that craftsmen performed the engravings based on his instructions.)\u003cbr\u003e\u003cbr\u003e\n\nThis model was designed in the mid-1950s.\u003cbr\u003e\nIt depicts six large-billed birds.\u003cbr\u003e\nThe cut signature is \"Boda H553\/1191\".\u003cbr\u003e\n*In good condition with no noticeable damage.\u003cbr\u003e\n*Our shop issues certificates of authenticity based on our accumulated experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"CLEAR \/ EHSP014","offer_id":48784988733680,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHSP014_1.jpg?v=1769951880"},{"product_id":"ehgl2315","title":"ENGRAVED VASE(CRYSTAL) H272","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features engravings carved into thick crystal glass.\u003cbr\u003e\nUnlike traditional engraving, which involves superficial and delicate decoration created by rotating a copper disk, Erik Höglund primarily used a grinding wheel to create deep, rough decorative expressions.\u003cbr\u003e\nBy deeply grinding and carving, steps are created on the surface, making the motifs appear more sculptural.\u003cbr\u003e\n\nFurthermore, Höglund's engraved works were carved directly onto the glass surface by his own hand, without first drawing the motifs on paper.\u003cbr\u003e\nThis is a work that strongly reflects the thinking of Erik Höglund as a sculptor, having studied sculpture in his student days.\u003cbr\u003e\n(It is said that in later years, artisans performed the carvings based on his instructions.)\u003cbr\u003e\u003cbr\u003e\n\nThis model was designed around 1956.\u003cbr\u003e\nIt depicts three charming animals, and the flag-like decorations at the top and bottom suggest that a circus might be the motif.\u003cbr\u003e\nThe cut signature is 'Boda H272\/1157'.\u003cbr\u003e\n*The entire piece has a faint haze.\u003cbr\u003e\n*Our shop issues certificates of authenticity based on our accumulated experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"CLEAR \/ EHGL2315","offer_id":48784989126896,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHGL2315_1.jpg?v=1769952004"},{"product_id":"srhp397","title":"COVERD CYLINDRICAL JAR(RED) SH126","description":"\u003cdiv class=\"product-description\"\u003e\n\u003c!-- 上段：作品説明 --\u003e\n\u003cdiv class=\"product-description__upper\"\u003e\n\u003cp\u003eA lidded container designed in 1956 and manufactured from 1956 to 1960.\u003cbr\u003eAn art piece combining different materials: thick, heavy glass and thin, wide alpaca silver.\u003cbr\u003eThe contrast between the materials and their weight creates a sophisticated and high-quality appearance.\u003c\/p\u003e\n\u003cp\u003eIt features a structure where cylindrical glasses of the same diameter but different heights are stacked opening-to-opening, and the alpaca silver wrapped around the lid fixes them horizontally.\u003c\/p\u003e\n\u003cp\u003eThe cut signature reads \"S. Hopea Nuutajärvi Notsjö -58.\"\u003cbr\u003eMade in 1958.\u003cbr\u003eIt is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\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 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. 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. 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. 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. 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":"RED \/ SRHP397","offer_id":48916307640560,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP397_1_bf930732-64d5-4b0a-8f5b-eae9347901e9.jpg?v=1772097554"},{"product_id":"kysl038","title":"COVERED POT","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA covered vessel created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThe clay body, which appears to contain chamotte, is layered with a matte dark brown glaze and a cloudy white glaze with areas of pooling, creating a richly textured surface reminiscent of the Finnish landscape.\u003cbr\u003eThe sharply defined lid also has a sculptural appeal of its own, revealing the strength of her formal expression.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1956.\u003cbr\u003eSigned “ARABIA KS”.\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\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL038","offer_id":49416185676016,"sku":null,"price":176000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL038_1.jpg?v=1774258935"},{"product_id":"kysl017","title":"CREAMER","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA creamer created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThe thin and delicately rising rim, together with the sharp form created by its two-tiered structure, gives this small piece a striking sense of tension.\u003cbr\u003eThe restrained glaze expression contrasts with the sharp form, further enhancing its presence.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957 to 1961.\u003cbr\u003eSigned “ARABIA KS”.\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\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL017","offer_id":49416359510256,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL017_1_019622e5-037c-4b59-b93f-8a398a71c6f2.jpg?v=1774259441"}],"url":"https:\/\/elephant-life.com\/en\/collections\/art-piece.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}