{"title":"GIFT","description":"","products":[{"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":"pendant-silver-moon","title":"\"SILVER MOON\" PENDANT","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nTapio Wirkkala is one of the pioneers who opened up modern design in Finnish metal craft, alongside glass.\u003cbr\u003e\nIn the field of post-war metal craft, where decorative classical styles were predominant, he, together with Bertel Gardberg, presented a new direction.\u003cbr\u003e\nHe gained attention in competitions in the late 1940s and began collaborating with Kultakeskus in 1951. Over the next 30 years, he created numerous designs, contributing significantly to the modernization of the company's collection.\n\u003c\/p\u003e\n\u003cp\u003e\nRegarding jewelry, he began designing made-to-order gold jewelry in 1966 and silver jewelry in 1970, which then became widely available to the public.\u003cbr\u003e\nThis is a pendant from \"Silver Moon,\" one of his representative silver jewelry pieces designed in 1970.\u003cbr\u003e\nTwo sizes of pendants and earrings were designed, and this is the smaller pendant, an original manufactured in 1971 at Westerback's workshop in Helsinki.\n\u003c\/p\u003e\n\u003cp\u003e\nSterling silver (925).\u003cbr\u003e\nThe size, manufacturing method, craftsmanship, and material thickness differ from the pendants reissued by Kultakeskus in later years.\u003cbr\u003e\n*The outermost ring is slightly distorted, but otherwise, it is in good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His activities intensified after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to unique art glass and sculptures, seamlessly blending different domains such as nature and geometry, craft and industrial production, and art and practical items.\u003cbr\u003e\n    Through sculptural beauty based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" where he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process involving repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix at the Milan Triennale in three categories: exhibition, glass, and wood sculpture (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"SILVER \/ TWMS008","offer_id":48496289710320,"sku":null,"price":187000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWMS008_1.jpg?v=1765527202"},{"product_id":"ice-breaker-double-old-fashioned-2035","title":"\"ICE BREAKER\" DOUBLE OLD FASHIONED 2035","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis tumbler series was released in 1968 as a product model of the Art Object\/Ashtray \"Jäänsärkijä (ICE BREAKER)\" 3318, which was designed in 1963.\u003cbr\u003eIt was manufactured from 1968 to 1974, and from 1986 to 1987.\u003cbr\u003eThe thick base features a design of various sizes of icebergs and drift ice floating on the water surface, depicted as triangular pyramids.\u003cbr\u003eIt was one of the works exhibited at the Milan Triennale in 1968.\u003cbr\u003e*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures in leading Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His work truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metalwork, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-of-a-kind art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistry and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch,\" and he implemented a unique design process that involved drawing hundreds of sketches, creating models to thoroughly examine forms, and repeatedly making prototypes.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wooden sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL307","offer_id":48496762290416,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL307_1.jpg?v=1765527809"},{"product_id":"bubble-vase-sh122","title":"\"BUBBLE\" VASE SH122","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This piece is named \"BUBBLE.\"\u003cbr\u003e\n    It was designed in 1955 and manufactured from 1956 to 1961.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    It is an art piece with an inner casing of blue-violet colored glass and air bubbles of turquoise colored glass encased in the lower part.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is \"S. Hopea Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    Manufactured in 1961.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"BLUE \/ SRHP440","offer_id":48501999960304,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP440_1.jpg?v=1765535143"},{"product_id":"candle-holderyellow-sh133","title":"CANDLE HOLDER (YELLOW) SH133","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This candle holder was designed in 1958 and manufactured between 1958 and 1960.\u003cbr\u003e\n    It is a heavy glass art piece with ground and polished yellow cased glass.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The yellow colored glass extends from the outer bottom to about 70% of the way up, with the rest being clear glass.\u003cbr\u003e\n    The appearance changes with the angle due to light reflection and refraction.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is 'S.Hopea Nuutajärvi Notsjö -58', indicating it was manufactured in 1958.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP408","offer_id":48503046373616,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP408_1.jpg?v=1765536644"},{"product_id":"srhp411","title":"\"VEIKKO\" BEER GLASS (MOSS GREEN) 2142","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the 'VEIKKO' stemware series, designed in 1959, Saara Hopea's last year at Nuutajärvi.\u003cbr\u003eIt is one of the many stemware pieces designed by Saara Hopea.\u003cbr\u003eDespite its simple design, the gently curved cup and the stem, which is neither too thin nor too thick and extends straight, give it the elegant appearance characteristic of her work.\u003c\/p\u003e\n\u003cp\u003eIt is said to have been manufactured from 1959 to 1967, but due to the small number of existing pieces, it is presumed that the actual manufacturing period was shorter.\u003cbr\u003eThe capacity is approximately 500ml when filled to the brim.\u003c\/p\u003e\n\u003cp\u003eThis is a rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003eShe studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003eThe excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003eHer work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003eFrom 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"GREEN \/ SRHP411","offer_id":48503993270512,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP411_1.jpg?v=1765538003"},{"product_id":"i-102-tumbler-200ml","title":"i-102 TUMBLER(GREY) 2002-20","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-102, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1956 to 1967. From 1968 to 1983, only the clear version remained in production, and from 1973 onward it was sold under the name AROMA.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GRAY \/ SARP452","offer_id":48505151160560,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP453_1.jpg?v=1776664246"},{"product_id":"sarp444","title":"i-103 TUMBLER(BLUE GREY) 2003-15","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a tumbler from the i-line series, model i-103, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP444","offer_id":48505194053872,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP445_1_41ad6d56-27d2-4e93-a5bb-074639207a2a.jpg?v=1776665866"},{"product_id":"sarp366","title":"i-104 TUMBLER(BLUE) Exhibition edition 2002","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-104, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eThis example was reissued in 2002 to commemorate Timo Sarpaneva Collection, an exhibition held at Designmuseo in Helsinki. It is engraved “Exhibition edition 2002 Timo Sarpaneva.”\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003ei-104 was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP366","offer_id":48505205194992,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP366_1.jpg?v=1765541836"},{"product_id":"sarp411","title":"i-106 TUMBLER(LILAC GREY) 2006-12","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-106, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1957 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt features a stackable design.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP411","offer_id":48505224364272,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP412_1.jpg?v=1776666207"},{"product_id":"sarp433","title":"i-114 TUMBLER(BLUE GREY) 2014-10","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-114, a tumbler from the i-line series, designed in 1958.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1959 to 1970.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP433","offer_id":48505232785648,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP434_1.jpg?v=1776666494"},{"product_id":"sarp309","title":"\"JURMO\" SHERRY GLASS 2133-011","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eDesigned in 1978 and produced from 1980 to 1983.\u003c\/p\u003e\n\u003cp\u003eThis glassware series takes its name, JURMO, from one of the archipelago islands lying between the Finnish coast and the open sea.\u003c\/p\u003e\n\u003cp\u003eIts beautiful, gently curving form was inspired by pebbles shaped and polished over time by seawater during a journey to Jurmo.\u003c\/p\u003e\n\u003cp\u003eA rare model.\u003c\/p\u003e\n\u003cp\u003eProbably unused and in excellent condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP309","offer_id":48505245991152,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP309_1.jpg?v=1765542347"},{"product_id":"sarp408","title":"i-104 TUMBLER(LILAC GREY) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP408","offer_id":48505253036272,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP408_1.jpg?v=1765542673"},{"product_id":"sarp394","title":"i-104 TUMBLER(CLEAR) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva, and the clear glass version is a rare color variation.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP394","offer_id":48505258213616,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP394_1.jpg?v=1765542589"},{"product_id":"punch-ladle-1927-210mm","title":"PUNCH LADLE 1927 210mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963, and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook onto the rim of the bowl.\u003cbr\u003eIn 1963, a punch glass (1736) was designed, and this design was carried over to its handle.\u003cbr\u003eA rare item.\u003cbr\u003eImage 9, right.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1791","offer_id":48590636515568,"sku":null,"price":14850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1791_1.jpg?v=1765779796"},{"product_id":"punch-ladle-1927-195mm","title":"PUNCH LADLE 1927 195mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963 and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook over the rim of the bowl.\u003cbr\u003eIn 1963, a glass punch bowl (1736) was designed, incorporating this handle design.\u003cbr\u003eA rare item.\u003cbr\u003eLeft side of image 9.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1891","offer_id":48590913274096,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1891_1_9c554415-df22-4370-a1eb-49433fcc1006.jpg?v=1765780222"},{"product_id":"aalto-butter-dishwhite-4805","title":"\"AALTO\" BUTTER DISH (WHITE) 4805","description":"\u003cp\u003e\"Bölgeblick\" won second prize in the pressed glass category at the Karhula–Iittala glass design competition held in 1932.\u003cbr\u003e\nIt was introduced internationally early on, being exhibited in London the following year in 1933, and manufacturing began at Karhula in 1934.\u003cbr\u003e\nAt the 1936 Milan Triennale, it won the Grand Prix for exhibition design, and the \"Bölgeblick\" series was awarded a gold medal.\u003cbr\u003e\nFrom around 1937, it began to be sold as the \"Aalto\" series, named after the designer.\u003c\/p\u003e\n\n\u003cp\u003eThe name \"Bölgeblick\" is said to be related to the functionalist building \"Café Böljeblick\" that appeared at the 1930 Stockholm Exhibition, which is considered the starting point of Nordic modern design, and is regarded as a design born within the潮流 (trend) of Nordic modern design that was spreading at the time.\u003cbr\u003e\nIn Finnish, \"Aalto\" means \"wave,\" and the concentric, wave-like form has a double meaning, coinciding with the designer's name.\u003cbr\u003e\nThe distinctive stepped rings not only reflect light beautifully but also offer the practical advantage of allowing the dishes to be stacked for storage.\u003cbr\u003e\nFurthermore, they also served as a clever way to make bubbles and wrinkle-like marks, often seen in mass-produced glass at the time, less noticeable.\u003cbr\u003e\nIt continues to be manufactured at Iittala as the \"Aino Aalto\" series, and is one of the iconic products of Nordic modern design.\u003c\/p\u003e\n\n\u003cp\u003eThis is a lidded butter dish made of opaque white glass.\u003cbr\u003e\nIt was manufactured from 1952 to 1953, or in 1956.\u003cbr\u003e\nIt is extremely rare.\u003cbr\u003e\n*There is a small chip on the rim of the lid, but otherwise, it is in good condition with no noticeable damage.\u003c\/p\u003e","brand":"AINO AALTO","offers":[{"title":"WHITE \/ AINO154","offer_id":48594227953904,"sku":null,"price":132000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AINO154_1.jpg?v=1765849980"},{"product_id":"maija-dish-for-cold-cuts","title":"\"MAIJA\" COLD CUT DISH","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDesigned in 1936.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is one of the \"MAIJA\" series exhibited at the KARHULA-IITTALA glass competition for the 1937 Paris International Exposition.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is the only cold-cut glass container in the series to be commercialized.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*There are water stain-like marks near the four corners of the inner surface.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThere are crack-like marks on the top corners from manufacturing.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOther minor scratches are present, but it is generally in good condition.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AINO AALTO","offers":[{"title":"BLACK \/ AINO288","offer_id":48594229297392,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AINO288_1.jpg?v=1765850205"},{"product_id":"tmcr006","title":"MUG","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA unique wheel-thrown mug by Toini Muona.\u003c\/p\u003e\n\u003cp\u003eIt is made in a slightly coarse stoneware body and finished with a complex semi-matte glaze in which deep blue-green, pale purple, and brown intermingle. The strong form, with its pronounced throwing rings, together with the rich glaze effects, gives the piece a remarkable presence.\u003c\/p\u003e\n\u003cp\u003eGiven the likelihood that it belongs to a period when Muona was actively experimenting with glazes and foregrounding their unpredictable effects, it is thought to date from the late 1930s to around the 1940s.\u003c\/p\u003e\n\u003cp\u003eMugs by Toini Muona are rarely encountered and are particularly scarce.\u003c\/p\u003e\n\u003cp\u003eSigned “TM” on the base.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\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\u003e\u003cstrong\u003eTOINI MUONA｜1904–1987｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eToini Muona was one of the pioneering figures in modern Finnish ceramics and one of the leading women ceramic artists and designers of her generation.\u003c\/p\u003e\n\u003cp\u003eAfter studying at the Higher School of Applied Arts from 1920 to 1923—an evening program associated with the Central School of Arts and Crafts—she continued at the Central School of Arts and Crafts, graduating as a designer in 1926. Already highly regarded while still a student, she was awarded a scholarship upon graduation and continued to work from the school’s ceramics studio. There, under Alfred William Finch—the Belgian-born painter and ceramic artist who laid the foundation for ceramic education in Finland—she developed her practice through wheel-throwing, firing, and continued studio work.\u003c\/p\u003e\n\u003cp\u003eIn 1931, she began training at Arabia, where her ability was soon recognized through her involvement in the factory’s production processes, and she was eventually invited to join the company as an artist. At a time when the role of the ceramic artist at Arabia had not yet been clearly established, Muona became the first formally affiliated artist there to have trained in ceramics at the Central School of Arts and Crafts. In doing so, she opened a path for ceramic artists educated at the school to work within industry. Her success also became an important turning point in encouraging Arabia to support artist-led ceramic production more seriously, helping to pave the way for the later establishment of its art department.\u003c\/p\u003e\n\u003cp\u003eAs early as 1932, she completed her first collection of works, which she presented that November in her first solo exhibition at the Museum of Applied Arts. That a young ceramic artist should make her debut in a museum setting testified not only to the exceptional recognition of Muona’s talent, but also marked an important moment in the growing union of art and industry.\u003c\/p\u003e\n\u003cp\u003eUntil her retirement from Arabia in 1970, Muona pursued ceramics with unwavering dedication, confronting the essential elements of the medium—clay, glaze, and firing—with remarkable seriousness, and continually seeking new forms of expression unconstrained by tradition or convention. Although she possessed exceptional skill on the wheel, she also incorporated hand-built and decorative methods, pushing ceramics toward a more fully sculptural mode of expression. In particular, her copper-based glazes, with their deep reds, blues, and turquoise tones, became one of the defining features of her work.\u003c\/p\u003e\n\u003cp\u003eFrom the late 1930s onward, her work expanded toward substantial, asymmetrical forms and vases with organic contours suggestive of natural forms. In the 1940s, she pursued tall, slender vertical shapes and created vases inspired by reeds and grasses. These works, which she herself referred to as “grass,” became some of her most celebrated pieces and attracted considerable attention. In the 1950s, she developed this dialogue with plant forms further, producing relief ceramic plaques made by pressing dried plants into the clay. From the 1960s onward, her work moved toward simpler and more abstract forms, elevating ceramics into an increasingly sculptural mode of expression.\u003c\/p\u003e\n\u003cp\u003eHer distinctive artistic language gained international recognition from an early stage. Long before Finnish modernism came to attract wide international attention in the 1950s, Muona had already built a presence through repeated participation in international exhibitions and a series of awards. Her work helped present Finnish ceramics to the world, and she was one of the key figures in shaping and advancing modernism within Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eShe received gold medals at the Milan Triennale in 1933 and 1951, at the Brussels World’s Fair in 1935, and at the Paris World’s Fair in 1937. She was awarded an honorary prize at the 1954 Milan Triennale and received the Pro Finlandia Medal in 1957, among many other honors.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA ART DEPARTMENT 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\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","brand":"TOINI MUONA","offers":[{"title":"TURQUOISE \/ TMCR006","offer_id":48594823807216,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TMCR006_1_cc4a1ad4-f7e9-4b1f-93fa-254eefdf36d0.jpg?v=1783761534"},{"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":"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":"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, artist, and educator. He studied ceramics at the School of Art and Design in Helsinki under Elsa Elenius.\u003c\/p\u003e\n\n  \u003cp\u003eAfter completing his ceramics studies in 1956, Toikka began his career as a designer at Arabia, moving to its Art Department six months later. In 1957, he also designed glass products for Nuutajärvi, which, like Arabia, was then part of Wärtsilä. In 1958, he held his first solo exhibition, presenting ceramic works with expressive animal motifs full of humor and strength. The exhibition was highly regarded and marked a new direction in Finnish ceramics.\u003c\/p\u003e\n\n  \u003cp\u003eAfter leaving Arabia in 1959, Toikka returned to the School of Art and Design to study in the art teacher training program. He later taught at several institutions while continuing his design work, including projects for Marimekko. In 1963, he was invited to join Nuutajärvi as a glass designer. After Nuutajärvi and Iittala merged in 1988, he continued as an in-house designer until 1996, and thereafter remained involved in glass production as an artistic consultant until 2019.\u003c\/p\u003e\n\n  \u003cp\u003eAmong his product designs are well-known series such as “Kastehelmi” and “Fauna.” In art glass, he created many widely recognized works, including bird sculptures beginning with “Sieppo,” as well as “Lollipop” and “Pom Pom.” He also designed unique pieces for exhibitions, pursuing forms of artistic expression distinct from mass-produced objects.\u003c\/p\u003e\n\n  \u003cp\u003eToikka’s glass works were not realized through design concepts and ideas alone; they took shape through close collaboration with glassblowers. Through dialogue and experimentation in the workshop, he incorporated the skills and knowledge of individual craftspeople into his work. The technical, chromatic, and formal discoveries made in his unique pieces were applied not only to art glass but also to product design, allowing his work to move fluidly across the boundaries of art and design.\u003c\/p\u003e\n\n  \u003cp\u003eBy bringing humor, fantasy, and ornament into glass, Toikka positioned himself apart from the functional and rational currents often associated with Nordic design. He pursued forms that embraced chance, material behavior, and the visible traces of handwork.\u003c\/p\u003e\n\n  \u003cp\u003eHis practice extended beyond ceramics and glass to textile design, graphic design, exhibition design, opera stage design, and costume design.\u003c\/p\u003e\n\n  \u003cp\u003eAs an educator, Toikka was also deeply involved in mentoring younger generations. He taught at several institutions, including the School of Art and Design in Helsinki, Konstfack in Stockholm, and the University of Sunderland in the United Kingdom. At Nuutajärvi, he also contributed to the transmission of glassmaking skills and to the glassblower training program launched in 1993.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Lunning Prize in 1970, the Pro Finlandia Medal in 1980, the Kaj Franck Design Prize in 1992, and the Prince Eugen Medal in 2001.\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":"fkrc162","title":"RICE PORCELAIN \"OKSA\" COFFEE C\u0026S FK\/65 BOX SET","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe \u003cem\u003eRice Porcelain\u003c\/em\u003e series designed by Friedl Holzer-Kjellberg.\u003c\/p\u003e\n\u003cp\u003eInspired by Chinese rice-grain porcelain that she encountered at the Museum of Applied Arts in Vienna in the early 1930s, \u003cem\u003eRice Porcelain\u003c\/em\u003e took shape after nearly a decade of experimentation, with the first works presented in 1942.\u003c\/p\u003e\n\u003cp\u003eThe pierced pattern is cut entirely by hand, each opening made individually by a skilled artisan using a special knife. The pieces are then biscuit-fired at 800°C, glazed, and fired again at 1380°C. During this process, a thin film of glaze forms across the cut-out areas, vitrifies, and allows light to pass through, bringing out the delicate translucent pattern.\u003c\/p\u003e\n\u003cp\u003eAt first, these were unique works that required as much as four days to complete, even for small pieces. After further research and refinement, production as a regular series began in 1951. A dedicated department was established, and at its peak around twenty people were involved in production. It remained in manufacture until 1974 as one of Arabia’s best-known tableware lines, and was exhibited at the 1951 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, \u003cem\u003eOKSA\u003c\/em\u003e means “twig.” The cup is marked “ARABIA -F.H.Kj- FINLAND,” and the saucer “ARABIA -F.H.Kj-.”\u003c\/p\u003e\n\u003cp\u003eFrom around the mid-1960s, Arabia, Nuutajärvi, and Finel, all part of the Wärtsilä group, adopted a shared packaging design, with the name and color varied for each manufacturer. This is the Arabia version, printed in brown with a repeated pattern of the company name.\u003c\/p\u003e\n\u003cp\u003eA set of six, with the original packaging.\u003c\/p\u003e\n\u003cp\u003e* Probably deadstock. In excellent condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC162","offer_id":48595134218480,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC162_1.jpg?v=1765878813"},{"product_id":"rice-porcelain-viiru-mug-fk-7","title":"RICE PORCELAIN \"VIIRU\" MUG FK\/7","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain\" porcelain that she saw at the Vienna Museum of Applied Arts in the early 1930s, and it took 10 years to perfect. Each openwork pattern is cut by hand by artisans using a special knife, then bisque-fired at 800°, glazed, and fired again at 1380°, causing the cut sections to vitrify and the openwork pattern to emerge through the light. Initially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series from 1950. It was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\"VIIRU\" means \"thread\" in Finnish.\u003cbr\u003eThe cut mark is \"ARABIA -F.H.Kj- FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC187","offer_id":48595159679216,"sku":null,"price":15400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC187_1.jpg?v=1765879851"},{"product_id":"rice-porcelain-bowl-fk-1","title":"RICE PORCELAIN BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"hotarude\" (firefly) porcelain, which the creator saw at the Museum of Applied Arts in Vienna in the early 1930s, and it took 10 years to perfect.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. This process vitrifies the cut areas, allowing light to pass through and making the openwork patterns stand out.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features a rare pattern.\u003cbr\u003eThe cut mark reads \"ARABIA -F.H.Kj- MADE IN FINLAND.\"\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC188","offer_id":48595162333424,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC188_1.jpg?v=1765880046"},{"product_id":"rice-porcelain-oksa-bowl-fk-1","title":"RICE PORCELAIN \"OKSA\" BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed over a period of 10 years, inspired by Chinese 'rice grain' porcelain that I saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork pattern is cut out one by one by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C, causing the cut-out parts to vitrify and the openwork pattern to emerge through the light.\u003cbr\u003eInitially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eExhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn Finnish, \"OKSA\" means \"twig.\"\u003cbr\u003e\nCut signature: \"ARABIA -F.H.Kj- MADE IN FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC189","offer_id":48595163775216,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC189_1.jpg?v=1765880238"},{"product_id":"rice-porcelain-lehti-bowl-fk-1","title":"RICE PORCELAIN \"LEHTI\" BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain porcelain\" observed at the Museum of Applied Arts in Vienna in the early 1930s and took ten years to complete.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using special knives, then bisque-fired at 800°C, glazed, and fired again at 1380°C, causing the cut areas to vitrify and the openwork pattern to emerge through the light.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series starting in 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn Finnish, \"LEHTI\" means \"leaf.\"\u003cbr\u003eThe cut mark is \"ARABIA -F.H.Kj- MADE IN FINLAND\"\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC190","offer_id":48595165937904,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC190_1.jpg?v=1765880365"},{"product_id":"rice-porcelain-oksa-bowl-fk-68-with-black-foot-ring","title":"RICE PORCELAIN \"OKSA\" BOWL FK\/68 with BLACK FOOT RING","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain\" porcelain that Kjellberg saw at the Museum of Applied Arts in Vienna in the early 1930s and took ten years to complete.\u003cbr\u003eEach openwork pattern is individually cut by hand with a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C, turning the cut-out parts into a glassy material that allows light to pass through and highlight the openwork pattern.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a rare piece with a matte black-brown glazed foot.\u003cbr\u003e\"OKSA\" in Finnish means \"twig.\"\u003cbr\u003e\nThe cut signature is \"ARABIA -F.H.Kj- FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC191","offer_id":48595168067824,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC191_1.jpg?v=1765880820"},{"product_id":"rice-porcelain-rivi-mocca-cup-fk","title":"RICE PORCELAIN \"RIVI\" MOCCA CUP FK","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed after 10 years of work, inspired by Chinese 'hotarude' (firefly-hand) porcelain that the artist saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. The cut portions vitrify, allowing light to pass through and revealing the openwork pattern.\u003cbr\u003eInitially, these were unique pieces, with even small works taking four days to produce. However, after further research, they began to be manufactured as a product series starting in 1950.\u003cbr\u003eThey were exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a rare 80ml mocha cup without a handle.\u003cbr\u003eThe cut mark reads \"ARABIA -F.H.Kj- MADE IN FINLAND\".\u003cbr\u003e\"RIVI\" means \"line\" in Finnish.\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\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":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC199","offer_id":48595509248240,"sku":null,"price":9900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC199_1.jpg?v=1765881971"},{"product_id":"relations™-relations™-bowlclear-75mm","title":"relations™ BOWL(CLEAR) 75mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003erelations™ is a series introduced by Iittala in 1999, featuring five emerging designers — Konstantin Grcic, Annaleena Hakatie, Harri Koskinen, Marc Newson, and Carina Seth-Andersson. Through different design approaches, each designer explored the relationships between form, use, function, and expression from their own perspective.\u003c\/p\u003e\n\u003cp\u003eThis is one piece from the relations series by the German designer Konstantin Grcic, who was gaining international recognition in the late 1990s.\u003cbr\u003eIts outer form is flat, while variations in thickness on the inside create stepped levels that make stacking possible, resulting in an innovative stacking glass unlike anything that had come before.\u003c\/p\u003e\n\u003cp\u003eAnother notable feature is the gradation created by the heavy base and the differences in thickness.\u003cbr\u003eThe weight of the base gives the glass stability and visually tightens the overall impression, while the three levels of thickness create subtle visual variation.\u003cbr\u003eWhen stacked, this gradation continues from one glass to another, further enhancing the beauty of the form.\u003c\/p\u003e\n\u003cp\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KONSTANTIN GRCIC","offers":[{"title":"CLEAR \/ GRCC228","offer_id":48600431165680,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/GRCC228_1.jpg?v=1765965411"},{"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":"tumblerclear-5023-006","title":"TUMBLER (CLEAR) 5023-006","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing pressed glass immediately after moving from Iittala to Nuutajärvi in 1950.\u003cbr\u003e\n    The 5023 series was Kaj Franck's first pressed glass series, commercialized in 1953.\u003cbr\u003e\n    It was manufactured from 1953 to 1968 and was available in three size variations.\u003cbr\u003e\n    Along with KILTA, which he designed at Arabia, a group company at the time, it was used in advertisements as a product embodying \"more beautiful everyday items.\"\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a 60ml clear glass version of the 5023.\u003cbr\u003e\n    Initially, the precision of Nuutajärvi's pressed glass machine molds was insufficient, making manufacturing with clear glass difficult.\u003cbr\u003e\n    The 5027, also made of pressed glass and released in 1956, was designed with clear glass manufacturing in mind. It is presumed that the pressed glass machine and molds were renewed at this time, enabling the production of clear glass 5023 as well.\u003cbr\u003e\n    However, due to the rarity of individual pieces, it is thought that production was for a short period.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It has minor scratches, but is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1843","offer_id":48639557271792,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1843_1.jpg?v=1766909292"},{"product_id":"tumblerblue-1722-012","title":"TUMBLER (BLUE) 1722-012","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eManufactured from 1955 to 1971.\u003cbr\u003eA simple cylindrical tumbler made by blow molding.\u003cbr\u003eThis is the second smallest size among the five variations, with a capacity of 120ml.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1748","offer_id":48639562514672,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1748_1.jpg?v=1766909416"},{"product_id":"plateyellow-5268-140","title":"PLATE (YELLOW) 5268-140","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eManufactured from 1954 to 1967.\u003cbr\u003eThis was Kaj Franck's first pressed glass plate, introduced in 1954 along with the square-shaped 5269.\u003cbr\u003eThe form is similar to the KILTA series plate released by Arabia in 1953.\u003cbr\u003e*In good condition with minimal signs of use.\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":"YELLOW \/ KFGL1328","offer_id":48639569821936,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1328_1.jpg?v=1766909696"},{"product_id":"kfkl503","title":"\"KILTA\" BOX(BLUE) IS3","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is model IS3, a covered container from the IS series designed in 1949 and later incorporated into the KILTA series. The series was produced in three sizes: IS1 and IS2, both with a diameter of 110 mm but different heights, and IS3, with a diameter of 150 mm. This example is IS3, the rarest of the three sizes, and is thought to have been produced only for a short period, probably around 1960.\u003c\/p\u003e\n\u003cp\u003eThere is a small chip to the edge of the unglazed area on the underside of the lid. The top of the lid also has areas where the glaze is thin, as made.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\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, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit 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, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 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 shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention 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.\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":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL503","offer_id":48640051282160,"sku":null,"price":24750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL503_1_c4e76501-daf0-419c-9390-7459162e6026.jpg?v=1777641723"},{"product_id":"arab557","title":"SQUARE DISH(BLACK) HF","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the HF model square plate designed by Kaarina Aho.\u003c\/p\u003e\n\u003cp\u003eIts design follows the basic principles of Kaj Franck’s KILTA series, but compared with the square plates of KILTA, its sides rise at a steeper angle, closer to vertical.\u003c\/p\u003e\n\u003cp\u003eIt was designed as an hors d’oeuvre dish to be arranged in multiples on a wooden tray, and this more upright form was likely intended to allow the pieces to sit neatly side by side. It was produced from 1958 to 1964.\u003c\/p\u003e\n\u003cp\u003eIn 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\u003cp\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\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\u003eIn 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\u003c\/p\u003e\n\u003cp\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\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\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":"KAARINA AHO","offers":[{"title":"BLACK \/ ARAB557","offer_id":48641414168816,"sku":null,"price":6050.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ARAB557_1_4210a1dd-e7fe-4f25-a30c-79ae442a3ef3.jpg?v=1777718347"},{"product_id":"tupa-tumbler-5213-2381-200ml","title":"\"TUPA\" TUMBLER 5213\/2381 200ml","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    The TUPA series is the only product designed by Kaj Franck during his four years at IITTALA (from 1946 to 1950), inspired by his second and third place awards in the KARHULA-IITTALA design competition in 1946. It was also the first glass product he designed in his career. It was unveiled at the Stockmann department store in 1948 and subsequently manufactured until 1954.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The TUPA series is a reproduction of 'WALDGLAS' (forest glass), which was produced in Finland until the mid-19th century. The glass, called \"antique green,\" was specially developed for this series.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a tumbler from the TUPA series, manufactured from 1949 to 1954.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    'WALDGLAS' (forest glass) is a green glass primarily made from forest ash and sand. It is not uniform or high-quality glass, often containing air bubbles, wrinkles, and impurities.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    We have handled many TUPA series products, and most of them have had scratches, scuffs, and stains. This phenomenon is not observed in IITTALA products from the same era and is likely a characteristic of this type of glass. Even with the same product number, there are individual differences in glass thickness and form. Please be aware of this.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    *There are signs of use, such as scuffs and scratches.\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":"GREEN \/ KFGL1591","offer_id":48704163315952,"sku":null,"price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1591_1.jpg?v=1768048636"},{"product_id":"tupa-tumbler-5213-2381-200ml-2","title":"\"TUPA\" TUMBLER 5213\/2381 200ml","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThe TUPA series is the only product designed by Kaj Franck during his four years at IITTALA (from 1946), following his second and third-place awards in the KARHULA-IITTALA design competition held in 1946. It was also the first glass product he designed in his career. It was unveiled at Stockmann department store in 1948 and subsequently manufactured until 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe TUPA series is a recreation of 'WALDGLAS' (forest glass), which was produced in Finland until the mid-19th century. The antique green glass was specially developed for this series.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a tumbler from the TUPA series, manufactured from 1949 to 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e'WALDGLAS' (forest glass) is a green glass made primarily from forest ash and sand. It is not a uniform, high-quality glass, often containing bubbles, wrinkles, and impurities.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eFurthermore, we have handled many TUPA series items, and most of them had scuffs, scratches, and stains. This phenomenon is not observed in IITTALA products from the same period, and it is likely a characteristic of this particular glass. Even items with the same product number may vary in glass thickness and form. Please be aware of this.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e*There are signs of use such as scuffs and scratches.\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":"GREEN \/ KFGL1593","offer_id":48704164331760,"sku":null,"price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1593_1.jpg?v=1768048878"},{"product_id":"tupa-plate-s-5230-2430","title":"\"TUPA\"  PLATE S 5230\/2430","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThe TUPA series was the only product Kaj Franck designed while working at IITTALA for four years from 1946, following his awards (2nd and 3rd place) in the KARHULA-IITTALA design competition held in 1946. It was also the first glass product he designed in his career. It was unveiled at Stockmann Department Store in 1948 and continued to be manufactured until 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe TUPA series is a reproduction of \"WALDGLAS\" (forest glass) which was made in Finland until the mid-19th century. The glass, called \"antique green,\" was specially developed for this series.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a small plate from the TUPA series, manufactured between 1948 and 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\"WALDGLAS\" (forest glass) is a green glass made primarily from forest ash and sand. It is not a uniform, high-quality glass, often containing bubbles, wrinkles, and impurities.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eMoreover, we have handled many TUPA series products over the years, and most of them had scuffs, scratches, and stains. This phenomenon is not observed in IITTALA products from the same era and is likely a characteristic of this type of glass. Even for items with the same product number, there are individual differences in glass thickness and form. Please be aware of this.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e*There are signs of use such as scuffs and scratches.\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":"GREEN \/ KFGL1446","offer_id":48704164724976,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1446_1.jpg?v=1768048967"},{"product_id":"kfkl528","title":"\"KILTA\" CASSEROLE(WHITE) BA 1","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is a covered casserole from the BA model, added to the KILTA series around the late 1950s. The small number of surviving examples suggests that it was produced only for a short period. This example was made in 1961.\u003c\/p\u003e\n\u003cp\u003eThere is some staining on the inner side, but otherwise it remains in good condition with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\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, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit 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, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 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 shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention 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.\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":"KAJ FRANCK","offers":[{"title":"WHITE \/ KFKL528","offer_id":48719595733232,"sku":null,"price":16500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL528_1_d0c18a37-99aa-4ada-be2c-7bb4c00d8fdc.jpg?v=1777641543"},{"product_id":"kfkl406","title":"\"KILTA\" EGG RING(ENAMEL RED) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\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, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit 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, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 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 shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention 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.\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":"KAJ FRANCK","offers":[{"title":"RED \/ KFKL406","offer_id":48723180191984,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL406_1.jpg?v=1768296609"},{"product_id":"kfkl407","title":"\"KILTA\" EGG RING(ENAMEL RED) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\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, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit 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, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 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 shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention 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.\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":"KAJ FRANCK","offers":[{"title":"RED \/ KFKL407","offer_id":48723190186224,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL407_1.jpg?v=1768296811"}],"url":"https:\/\/elephant-life.com\/en\/collections\/gift.oembed?page=2","provider":"ELEPHANT","version":"1.0","type":"link"}