{"title":"GLASS","description":"\u003cdiv class=\"black-text-01\" style=\"margin-top:0px;\"\u003e\n  \u003ch3 style=\"line-height:1.6; margin:0; text-transform:none;\"\u003e\n    \u003cstrong\u003eNordic Vintage Glass\u003c\/strong\u003e\u003cbr\u003e\n    From the 1930s onward\u003cbr\u003e\n    Ships worldwide from Tokyo\n  \u003c\/h3\u003e\n\u003c\/div\u003e","products":[{"product_id":"art-objectq-color","title":"ART OBJECT (Q-COLOR)","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis piece is made with a special translucent pale blue \"Q-color\" glass developed by Iittala, which produces a unique brilliance when light passes through it. \u003cbr\u003eWorks using \"Q-color\" glass were designed around 1948-1951, and this piece is also presumed to have been designed during this period.\n\u003c\/p\u003e\n\u003cp\u003e\nA white version is held in the EMMA Tapio Root Foundation collection, and a green version in the Kakkonen collection, but neither collection provides details such as a product number. Furthermore, it is not featured in \"eye, hand and thought,\" the comprehensive book on TAPIO WIRKKALA.\n\u003c\/p\u003e\n\u003cp\u003e\nA very rare piece.\u003cbr\u003eNo cut signature.\u003cbr\u003e*It is in good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His activities became full-fledged after winning the Karhula-Iittala glass design competition in 1946, and he established a global reputation with his exhibition design for the Finnish Pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-off art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and practical items.\u003cbr\u003e\n    Through a sculptural beauty based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" and he practiced a unique design process that involved meticulously examining forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL264","offer_id":48489688989936,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL264_1.jpg?v=1765518083"},{"product_id":"art-objectq-color-3266","title":"ART OBJECT (Q-COLOR) 3266","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nDesigned in 1947 and manufactured from 1948 to 1951.\u003cbr\u003e\nThis is one of the earliest pieces designed for IITTALA.\u003cbr\u003e\nArt Object 3266 was available in yellow and purple color variations, but this is a rare piece made using \"Q color\" glass, which was used in other works during the same period.\u003cbr\u003e\n\"Q color\" is a special glass developed by Iittala that emits a unique iridescence when light passes through it.\n\u003c\/p\u003e\n\u003cp\u003e\nThe absence of a cut signature is likely due to an area of color cloudiness on the side.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the 1951 Milan Triennale.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal craftsmanship, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced items to one-off art glass and sculptures, seamlessly blending different realms such as nature and geometry, craftsmanship and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistic expression and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" practicing a unique design process involving hundreds of sketches, thorough verification of forms through model making, and repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL316","offer_id":48489816162544,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL316_1.jpg?v=1765518268"},{"product_id":"art-object-3538","title":"ART OBJECT 3538","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1952 to 1955.\u003cbr\u003e\nThis is one of the pieces using the comb-cut technique, introduced in 1952 as a new surface decoration method following the line cut used in his representative work \"Kantalelli\" and others.\u003cbr\u003e\nComb-cutting is a technique where parallel grooves are carved at a pitch similar to that made by a comb.\n\u003c\/p\u003e\n\u003cp\u003e\nThis piece was manufactured by mold-blowing, with comb cuts applied to the outer surface.\u003cbr\u003e\nThe cut signature reads \"TAPIO WIRKKALA - IITTALA - 55\", indicating it was manufactured in 1955.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures to lead Finnish design to international success and a leading designer of the 20th century.\u003cbr\u003e\n    His career gained momentum after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to unique art glass and sculptures, seamlessly blending seemingly disparate areas such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch\"; he practiced a unique design process involving meticulous examination of forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wood sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL252","offer_id":48496065839344,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL252_1.jpg?v=1765526739"},{"product_id":"art-object-ashtray-ice-breaker-3318","title":"ART OBJECT \/ ASHTRAY \"ICE BREAKER\" 3318","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1963 to 1974 and from 1986 to 1987.\u003cbr\u003e\nThis piece depicts various sizes of icebergs and drift ice floating on the sea surface, represented by stud-like triangular cones on a base approximately 30mm thick.\n\u003c\/p\u003e\n\u003cp\u003e\nComes with original box.\u003cbr\u003e\nThe absence of a cut signature is presumed to be because there are three fewer triangular cones on the bottom surface, making it a second-quality item.\u003cbr\u003e\n*In good condition with no noticeable damage. The original box has some wear.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most representative designers of the 20th century.\u003cbr\u003e\n    His activities intensified after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to unique art glass and sculptures, seamlessly handling diverse areas such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his profound understanding of materials, he connected artistry and industrial production at a high level with his sculptural beauty.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch,\" and he practiced a unique design process that involved thoroughly verifying forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wood sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL294","offer_id":48496115187952,"sku":null,"price":35750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL294_1.jpg?v=1765526938"},{"product_id":"art-object-ashtray-ice-breaker-3319","title":"ART OBJECT \/ ASHTRAY \"ICE BREAKER\" 3318","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1963 to 1974, and from 1986 to 1987.\u003cbr\u003e\nA work of art that depicts icebergs and floes of various sizes floating on the sea surface as stud-like triangular cones on a base approximately 30mm thick.\n\u003c\/p\u003e\n\u003cp\u003e\nThe cut signature is \"TAPIO WIRKKALA -3318\"\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures in leading Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career took off after winning the Karhula-Iittala glass design competition in 1946, and he established his international reputation with his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metalwork, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced products to one-off art glass and sculptures, seamlessly blending different domains such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    He connected artistry and industrial production at a high level through sculptural beauty based on a deep understanding of materials.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" and he meticulously examined forms by drawing hundreds of sketches and creating models, practicing a unique design process that involved repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wood sculpture—at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL295","offer_id":48496184819952,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL295_1.jpg?v=1765527026"},{"product_id":"ice-breaker-double-old-fashioned-2035","title":"\"ICE BREAKER\" DOUBLE OLD FASHIONED 2035","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis tumbler series was released in 1968 as a product model of the Art Object\/Ashtray \"Jäänsärkijä (ICE BREAKER)\" 3318, which was designed in 1963.\u003cbr\u003eIt was manufactured from 1968 to 1974, and from 1986 to 1987.\u003cbr\u003eThe thick base features a design of various sizes of icebergs and drift ice floating on the water surface, depicted as triangular pyramids.\u003cbr\u003eIt was one of the works exhibited at the Milan Triennale in 1968.\u003cbr\u003e*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures in leading Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His work truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metalwork, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-of-a-kind art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistry and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch,\" and he implemented a unique design process that involved drawing hundreds of sketches, creating models to thoroughly examine forms, and repeatedly making prototypes.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wooden sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL307","offer_id":48496762290416,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL307_1.jpg?v=1765527809"},{"product_id":"bubble-vase-sh122","title":"\"BUBBLE\" VASE SH122","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This piece is named \"BUBBLE.\"\u003cbr\u003e\n    It was designed in 1955 and manufactured from 1956 to 1961.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    It is an art piece with an inner casing of blue-violet colored glass and air bubbles of turquoise colored glass encased in the lower part.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is \"S. Hopea Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    Manufactured in 1961.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"BLUE \/ SRHP440","offer_id":48501999960304,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP440_1.jpg?v=1765535143"},{"product_id":"candle-holderyellow-sh133","title":"CANDLE HOLDER (YELLOW) SH133","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This candle holder was designed in 1958 and manufactured between 1958 and 1960.\u003cbr\u003e\n    It is a heavy glass art piece with ground and polished yellow cased glass.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The yellow colored glass extends from the outer bottom to about 70% of the way up, with the rest being clear glass.\u003cbr\u003e\n    The appearance changes with the angle due to light reflection and refraction.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is 'S.Hopea Nuutajärvi Notsjö -58', indicating it was manufactured in 1958.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP408","offer_id":48503046373616,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP408_1.jpg?v=1765536644"},{"product_id":"srhp443","title":"BOWL(CLEAR) 1367-130","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eSaara Hopea’s glass bowl, designed in 1952.\u003c\/p\u003e\n\u003cp\u003eA simple mold-blown bowl produced in four size variations. Sizes other than the 110 mm version were made only in clear glass. In 1955, Kaj Franck designed a teak tray to accompany the 110 mm bowl, and the combination was also sold as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eThis example is the 130 mm bowl, the second-smallest size. A rare model.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"CLEAR \/ SRHP443","offer_id":48503902601456,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP443_1.jpg?v=1765537793"},{"product_id":"veikko-beer-glassmoss-green-2142","title":"\"VEIKKO\" BEER GLASS (MOSS GREEN) 2142","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the 'VEIKKO' stemware series, designed in 1959, Saara Hopea's last year at Nuutajärvi.\u003cbr\u003eIt is one of the many stemware pieces designed by Saara Hopea.\u003cbr\u003eDespite its simple design, the gently curved cup and the stem, which is neither too thin nor too thick and extends straight, give it the elegant appearance characteristic of her work.\u003c\/p\u003e\n\u003cp\u003eIt is said to have been manufactured from 1959 to 1967, but due to the small number of existing pieces, it is presumed that the actual manufacturing period was shorter.\u003cbr\u003eThe capacity is approximately 500ml when filled to the brim.\u003c\/p\u003e\n\u003cp\u003eThis is a rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003eShe studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003eThe excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003eHer work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003eFrom 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"GREEN \/ SRHP411","offer_id":48503993270512,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP411_1.jpg?v=1765538003"},{"product_id":"sarp293","title":"VASE FINLANDIA 3360","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3360, added to the FINLANDIA series in 1965 and produced from 1965 to 1970.\u003c\/p\u003e\n\u003cp\u003eThe slightly yellowish tone of the glass results from a chemical reaction between the carbonized surface of the wooden mold and the hot glass.\u003c\/p\u003e\n\u003cp\u003eThis effect could be reduced by wetting the mold during production to generate steam, but in the FINLANDIA series this was not done, as it would have interfered with the transfer of the surface texture.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA -3360.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP293","offer_id":48505125175536,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP293_1.jpg?v=1765539831"},{"product_id":"sarp296","title":"VASE FINLANDIA 3356","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3356, one of the works first introduced as part of the FINLANDIA series. It was produced from 1964 to 1970.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA - 3356.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREY \/ SARP296","offer_id":48505128485104,"sku":null,"price":82500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP296_1.jpg?v=1765539924"},{"product_id":"sarp486","title":"VASE FINLANDIA 3362","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe FINLANDIA series, introduced in 1964, is one of Timo Sarpaneva’s defining works of the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn the course of his repeated experiments and explorations in search of new possibilities in glass, Sarpaneva developed the series from a chance by-product of another experiment in 1963: a wooden mold whose surface had been charred by fire.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface left by the scorched wood mold, transferred directly onto the glass, was a revolutionary expression at a moment in the 1960s when the simple modern design that had prevailed since the 1950s was beginning to lose momentum. It went on to become a major trend that continued into the 1970s.\u003c\/p\u003e\n\u003cp\u003eEven within the same model number, multiple molds were used, and the surfaces of those molds changed over time through continued production. As a result, each piece emerged with its own unique character, with variations in form and surface texture.\u003c\/p\u003e\n\u003cp\u003eDepending on the size and form, it seems that only around 10 to 20 pieces could be produced from a single wooden mold.\u003c\/p\u003e\n\u003cp\u003eThis example is model 3362, added to the FINLANDIA series in 1966 and produced from 1966 to 1970.\u003c\/p\u003e\n\u003cp\u003eThe slightly yellowish tone of the glass results from a chemical reaction between the carbonized surface of the wooden mold and the hot glass.\u003c\/p\u003e\n\u003cp\u003eThis effect could be reduced by wetting the mold during production to generate steam, but in the FINLANDIA series this was not done, as it would have interfered with the transfer of the surface texture.\u003c\/p\u003e\n\u003cp\u003eSigned “TIMO SARPANEVA -3362.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP486","offer_id":48505130877168,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP486_1.jpg?v=1765540002"},{"product_id":"sarp418","title":"ART OBJECT \"SOLAR BALL (ORANGE GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"ORANGE \/ SARP418","offer_id":48505134874864,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP418_1.jpg?v=1765540119"},{"product_id":"sarp419","title":"ART OBJECT \"SOLAR BALL (GREEN GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREEN \/ SARP419","offer_id":48505139658992,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP419_1.jpg?v=1765540230"},{"product_id":"sarp422","title":"ART OBJECT \"SOLAR BALL (GREEN GREY)\" 2000","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis example is an art piece designed in 1956 and given the name SOLAR BALL (AURINKOPALLO). It was produced from 1960 to 1969.\u003c\/p\u003e\n\u003cp\u003eFormed using the free-blown technique, it is decorated on the interior with three fine trailing lines, all intact.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works that received the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eA compelling glass work in which the delicacy of the thin glass and the tension of the fine trails coexist with a sense of lightness and suspension when hung.\u003c\/p\u003e\n\u003cp\u003eSigned “TS”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage. Fishing line and hanging hardware are included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GREEN \/ SARP422","offer_id":48505145164016,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP422_1.jpg?v=1765540322"},{"product_id":"i-102-tumbler-200ml","title":"i-102 TUMBLER(GREY) 2002-20","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-102, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1956 to 1967. From 1968 to 1983, only the clear version remained in production, and from 1973 onward it was sold under the name AROMA.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"GRAY \/ SARP452","offer_id":48505151160560,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP453_1.jpg?v=1776664246"},{"product_id":"i-102-tumbler-200ml-1","title":"i-102 TUMBLER(BLUE GREY) 2002-20","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-102, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1956 to 1967. From 1968 to 1983, only the clear version remained in production, and from 1973 onward it was sold under the name AROMA.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP450","offer_id":48505155846384,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP451_1.jpg?v=1776664420"},{"product_id":"sarp444","title":"i-103 TUMBLER(BLUE GREY) 2003-15","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a tumbler from the i-line series, model i-103, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP444","offer_id":48505194053872,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP445_1_41ad6d56-27d2-4e93-a5bb-074639207a2a.jpg?v=1776665866"},{"product_id":"sarp366","title":"i-104 TUMBLER(BLUE) Exhibition edition 2002","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-104, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eThis example was reissued in 2002 to commemorate Timo Sarpaneva Collection, an exhibition held at Designmuseo in Helsinki. It is engraved “Exhibition edition 2002 Timo Sarpaneva.”\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003ei-104 was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP366","offer_id":48505205194992,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP366_1.jpg?v=1765541836"},{"product_id":"sarp411","title":"i-106 TUMBLER(LILAC GREY) 2006-12","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-106, a tumbler from the i-line series, designed in 1956.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1957 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt features a stackable design.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP411","offer_id":48505224364272,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP412_1.jpg?v=1776666207"},{"product_id":"sarp433","title":"i-114 TUMBLER(BLUE GREY) 2014-10","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is model i-114, a tumbler from the i-line series, designed in 1958.\u003c\/p\u003e\n\u003cp\u003eIt was manufactured from 1959 to 1970.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP433","offer_id":48505232785648,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP434_1.jpg?v=1776666494"},{"product_id":"sarp309","title":"\"JURMO\" SHERRY GLASS 2133-011","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eDesigned in 1978 and produced from 1980 to 1983.\u003c\/p\u003e\n\u003cp\u003eThis glassware series takes its name, JURMO, from one of the archipelago islands lying between the Finnish coast and the open sea.\u003c\/p\u003e\n\u003cp\u003eIts beautiful, gently curving form was inspired by pebbles shaped and polished over time by seawater during a journey to Jurmo.\u003c\/p\u003e\n\u003cp\u003eA rare model.\u003c\/p\u003e\n\u003cp\u003eProbably unused and in excellent condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP309","offer_id":48505245991152,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP309_1.jpg?v=1765542347"},{"product_id":"sarp408","title":"i-104 TUMBLER(LILAC GREY) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP408","offer_id":48505253036272,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP408_1.jpg?v=1765542673"},{"product_id":"sarp394","title":"i-104 TUMBLER(CLEAR) 2004-4 6pcs BOX","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe i-line series, introduced by Timo Sarpaneva in 1956, was conceived as something between art glass and industrial design. It was marketed as refined glassware for the home, priced around 20–30% higher than standard glassware of the time.\u003c\/p\u003e\n\u003cp\u003eAnother important feature of the i-line series was its subtle color palette, developed around grey and extended into blue, lilac, and green.\u003c\/p\u003e\n\u003cp\u003eThe mark created for i-line — a lowercase “i” set within a red circle — was adopted the following year as the symbol for Iittala’s art glass as a whole, and later became the company’s long-standing brand mark. The “i” inside the red circle represents a blowpipe inserted into a glowing furnace, with molten glass gathered at its tip.\u003c\/p\u003e\n\u003cp\u003eThe series was exhibited at the 1957 Milan Triennale, where it received the Grand Prix, marking Sarpaneva’s second Grand Prix following his award for art glass in 1954.\u003c\/p\u003e\n\u003cp\u003eThis is a small tumbler from the i-line series, model i-104, designed in 1956. It was manufactured from 1956 to 1967.\u003c\/p\u003e\n\u003cp\u003eIt was made using a mold-blown technique, and variations in glass thickness, size, and tone can be found from piece to piece.\u003c\/p\u003e\n\u003cp\u003eThis was one of the pieces exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eThe packaging was also designed by Timo Sarpaneva, and the clear glass version is a rare color variation.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTIMO SARPANEVA｜1926–2006｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTimo Sarpaneva was one of the leading figures of modern Finnish design. Trained as a graphic designer at the Institute of Industrial Arts in Helsinki, he began his career in 1949 after winning second prize in a glass design competition organized by Riihimäen Lasi. Although invited to join the company, negotiations collapsed when he was asked to work without compensation.\u003c\/p\u003e\n\u003cp\u003eWhile seeking a path as a glass designer, Sarpaneva worked for A. Ahlström in 1950, producing exhibition displays, shop windows, and graphic material. That same year, he received an offer from the Danish glassworks Holmegaard and considered leaving. Instead, he was encouraged by Ahlström to pursue glass design within its subsidiary Iittala, where he began his career as a glass designer in 1951.\u003c\/p\u003e\n\u003cp\u003eHis early artistic glass objects quickly gained international recognition, earning the Grand Prix at the Milan Triennale in 1954. He received the award again in 1957 for i-line, a series of mouth-blown utilitarian glassware introduced in 1956. Alongside his close contemporary Tapio Wirkkala, Sarpaneva played a central role in establishing Iittala as one of Finland’s most significant design brands.\u003c\/p\u003e\n\u003cp\u003eAt Iittala, Sarpaneva was also active as a graphic designer, creating posters, catalogues, and packaging. The distinctive i mark he designed for the i-line series later evolved into the enduring symbol of the brand.\u003c\/p\u003e\n\u003cp\u003eWorking in close collaboration with glassblowers and technicians, Sarpaneva continuously explored new techniques and forms of expression. Through extensive experimentation, he developed the Finlandia series in 1963, inspired by the charred surface of wooden molds. This spirit of innovation extended into textiles, culminating in Ambiente, a pioneering printing technique developed with the Tampella mills, in which fabric was treated as a surface for direct, painterly expression—what he described as “machine painting.”\u003c\/p\u003e\n\u003cp\u003eBeyond Iittala and Tampella, Sarpaneva’s work spanned a wide range of materials and industries, including art glass for Venini, porcelain for Rosenthal, cast iron for Rosenlew, stainless steel for Opa, as well as rugs and graphic design.\u003c\/p\u003e\n\u003cp\u003eHe received numerous international awards, including the Lunning Prize in 1956, the International Design Award in the United States in 1963, the Pro Finlandia medal in 1967, and the honorary title of Professor in 1977, among many others.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP394","offer_id":48505258213616,"sku":null,"price":26400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP394_1.jpg?v=1765542589"},{"product_id":"kremlin-bell-kf500-1500","title":"\"KREMLIN BELL\" KF500\/1500","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1957 and manufactured from 1957 to 1968. This is one of Kaj Franck's representative works and was one of the pieces exhibited when he won the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eInitially designed as an everyday product, its beautiful form and high degree of perfection led to its sale as an art piece after 1960. For this reason, two product numbers exist: \"1500\" for items up to 1959 and \"KF500\" for items from 1960 onwards.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a composition where function and form beautifully merge, designed to hold alcohol in the upper bottle and water in the lower carafe.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature is \"Nuutajärvi Notsjö\".\u003cbr\u003eThis particular piece was manufactured between 1965 and 1968, based on the cut signature.\u003cbr\u003eWhen held up to the light, slight water stains can be seen in the bottle section, but there is no noticeable damage, and the overall condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1869","offer_id":48591997206768,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1869_1.jpg?v=1765781711"},{"product_id":"object","title":"ITEM","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eIt has a Nuutajärvi sticker, but no cut signature.\u003cbr\u003eIt is probably a prototype.\u003cbr\u003eBased on the feel of the glass and the style of the work, it is presumed to be by Oiva Toikka.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA049","offer_id":48594873876720,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA049_1.jpg?v=1765866119"},{"product_id":"vase","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no clear evidence regarding Nuutajärvi Boutique, based on various information currently available, it is presumed to be prototypes or works created for events that were sold only at the Nuutajärvi gallery\/shop in Helsinki during the 1970s.\u003cbr\u003eThe works feature a special sticker with a pink logo and \"Boutique\" printed in silver, and do not have cut signatures.\u003cbr\u003eIt is believed that this was also an opportunity to gauge reactions and receive feedback on the works purely as art, through the sale of prototypes without revealing the designers' names.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece consisting of stacked cubes of different sizes.\u003cbr\u003eJudging from the style and later announced works, this piece is likely designed by Oiva Toikka.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA048","offer_id":48594875646192,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA048_1.jpg?v=1765866364"},{"product_id":"paperweight","title":"Paperweight","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A work designed by Oiva Toikka.\u003cbr\u003e\n    A paperweight with two cast glass pieces (only one side features a fish motif) welded together using the same manufacturing method as the OT1 (FISH) designed in 1964, with a polished surface finish.\u003cbr\u003e\n    The cut signature is \"Nuutajärvi Notsjö.\"\u003cbr\u003e\n    Based on the cut signature and the Nuutajärvi sticker, it is presumed to have been manufactured between 1965 and 1970.\u003cbr\u003e\n    A rare item.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\n  \u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\n  \u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\n  \u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\n  \u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\n  \u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA047","offer_id":48594876301552,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA047_1.jpg?v=1765866545"},{"product_id":"gobletunique-piece","title":"GOBLET (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA unique goblet by Oiva Toikka.\u003cbr\u003eWhile details are unknown, the glass is similar to that used in IGLU (1973), PUTELI (1975), and PIENNAR (1975), characterized by its coarse bubbles.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eOiva Toikka received the Lunning Prize in 1970, and with the prize money, he embarked on a four-month journey, traveling through East Africa (Kenya, Tanzania, Uganda) and subsequently Central and South America (Brazil, Ecuador, Mexico, Peru).\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis glass was inspired by the glass he saw in Mexico, which was made from impure materials using primitive equipment.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt is presumed to have been designed between 1973 and 1975.\u003cbr\u003eThe cut signature is \"Oiva Toikka Nuutajärvi Notsjö.\"\u003cbr\u003eThis is an extremely rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA044","offer_id":48594877153520,"sku":null,"price":275000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA044_1.jpg?v=1765866721"},{"product_id":"liquor-glassyellow-gn42","title":"LIQUOR GLASS (YELLOW) GN42","description":"\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 1947 at Nuutajärvi, where she began her collaboration in 1946, and manufactured from 1949 to 1953.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAvailable in clear, yellow, and lilac.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis schnapps glass features her characteristic organic and elegant form.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*In good condition with no noticeable damage.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eGUNNEL NYMAN | 1909–1948 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGunnel Nyman was a pioneering figure in Finnish glass design and one of the key innovators who helped define its modern direction. She studied furniture design at the Central School of Arts and Crafts in Helsinki, where she was taught by Arttu Brummer, a leading force in Finnish design. Even as a student, she distinguished herself through numerous competition entries and early awards, quickly emerging as one of the most promising designers of her generation.\u003c\/p\u003e\n\u003cp\u003eWorking as a freelance designer, Nyman created designs for all of Finland’s major glassworks—Riihimäki, Karhula, Iittala, and Nuutajärvi. Her practice also extended to lighting and furniture, including collaborations with Paavo Tynell, one of the foremost figures in Finnish lighting design.\u003c\/p\u003e\n\u003cp\u003eA lifelong friend of the textile designer Dora Jung, Nyman shared with her both a close personal bond and an important professional dialogue. Together they presented the exhibition Textiles, Glass, Furniture in 1938, followed by a joint exhibition at Artek in 1947. As leading figures in postwar Finnish design, both were widely acclaimed in Finland and abroad.\u003c\/p\u003e\n\u003cp\u003eParticularly significant was Nyman’s role in shaping a new working method in Finnish glass: one grounded in close collaboration between designer and glassblower within the workshop itself. In this respect, she was not only a designer of remarkable formal sensitivity, but also a pioneer in redefining the creative conditions of glassmaking. Her decision to acknowledge the craftsmen involved in the making of her works in exhibition presentations further reflects this collaborative ethos.\u003c\/p\u003e\n\u003cp\u003eAlthough her life was cut short in 1948 at the age of thirty-nine, Nyman’s influence was profound. She helped lay the foundation for the international recognition achieved by Finnish modern design in the 1950s, especially in the field of glass, and her work had a lasting impact on later designers such as Tapio Wirkkala, Kaj Franck, and Timo Sarpaneva.\u003c\/p\u003e\n\u003cp\u003eHer achievements were also recognised internationally: she was awarded a bronze medal at the Milan Triennale in 1933, gold and silver medals at the Paris World’s Fair in 1937, and, posthumously, a gold medal at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"GUNNEL NYMAN","offers":[{"title":"BROWN \/ GNNY044","offer_id":48595936870640,"sku":null,"price":10450.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/GNNY044_1.jpg?v=1765886139"},{"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":"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":"soap-bubble-vasegrey-l-kf113","title":"\"SOAP BUBBLE\" VASE (GREY) L KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1951 and manufactured from 1951 to 1961. One of the earliest art glass pieces designed at Nuutajärvi.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis vase, named \"SOAP BUBBLES,\" features a simple form with slight irregularities, crafted from thin glass shaped by free-blowing. The piece stands out for its delicate design, emphasizing the texture and transparency of the material itself.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt was also exhibited at the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957. This is the larger of the two sizes produced.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature reads 'K. Franck Nuutajärvi Notsjö -61.'\u003cbr\u003eThis particular piece was manufactured in 1961.\u003cbr\u003e*There are no noticeable damages, and it is in good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1800","offer_id":48640577896688,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1800_1.jpg?v=1766920823"},{"product_id":"soap-bubble-vasegrey-kf113","title":"“SOAP BUBBLE” VASE (GREY) KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Designed in 1951 and manufactured from 1951 to 1961.\n    One of the earliest art glass pieces designed at Nuutajärvi.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Named \"SOAP BUBBLES,\" this vase features a thin glass in a simple, slightly irregular form, shaped by mouth-blowing.\n    It is a work that highlights the texture and transparency of the material itself within its light form.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This piece was also exhibited in the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957.\n    This is the smaller of the two sizes produced.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The cut signature is \"K. Franck Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    This particular piece was manufactured in 1961.\u003cbr\u003e\n    *There are no noticeable damages, and it is in good condition.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1360","offer_id":48640586121456,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1360_1.jpg?v=1766920972"},{"product_id":"black-swanunique-piece","title":"BLACK SWAN (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, started to be manufactured in Nuutajärvi in the late 1850s, following the technique of Venetian glass. Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi filigree glass is made by carefully arranging thin, elongated rods of colored glass in a wooden mold with grooves carved on the inside. Transparent glass is then blown into it and fused, while twisting it to form its shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their placement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece of a black swan made of black filigree glass. The cut signature is \"K. Franck Nuutajärvi Notsjö\". There are no noticeable damages, and the condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLACK \/ KFGL1670","offer_id":48640871170288,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1670_1.jpg?v=1766929956"},{"product_id":"vaseunique-piece","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Filigree glass, which followed Venetian glass techniques, began to be manufactured in Nuutajärvi in the late 1850s.\n    Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Nuutajärvi's filigree glass is formed by carefully arranging thin, stretched rods of colored glass into a wooden mold with grooves carved on the inside,\n    then blowing transparent glass into it, fusing it, and twisting it.\n    Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a unique piece combining bubbly glass and filigree glass.\n    The cut signature reads \"Kaj Franck Nuutajärvi Notsjö 17.9.1975.\"\n    It was manufactured on September 17, 1975.\n    Normally, the manufacturing date is not included in the cut signature, so it is presumed to be a work with a special background.\n    *No noticeable damage; in good condition.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BROWN \/ KFGL831","offer_id":48640872481008,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL831_1.jpg?v=1766930153"},{"product_id":"vaseunique-piece-1","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, manufactured at Nuutajärvi starting in the late 1850s, followed the Venetian glass technique. This technique was once discontinued, but Kaj Franck began working on it in the early 1950s and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi's filigree glass is made by carefully arranging thin, elongated rods of colored glass into a wooden mold with grooves carved inside. Transparent glass is then blown into the mold and fused while twisting it into shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece combining bubbly glass and filigree glass. Like KF212, the bottom is raised in a mountainous shape. The cut signature is \"Kaj Franck Nuutajärvi Notsjö\". *Although it is difficult to see in the image, there is an area on the inner surface of the mid-section that has burst along a line. This is presumed to be from the time of manufacture. It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"WHITE \/ KFGL1021","offer_id":48640874086640,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1021_1.jpg?v=1766930297"},{"product_id":"vaseunique-piece-2","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck is best known for his functional products based on simple, undecorated geometric forms, yet he also designed a considerable number of unique art glass pieces employing a wide range of techniques.\u003c\/p\u003e\n\u003cp\u003eIn 1956, he remarked that the continued simplification of form alone would not lead to further artistic development, and spoke of the need for designs and works not bound by use. In 1958, he expressed a related idea, suggesting that once simplification had been taken to its limit, one began to long instead for the richness of form. These ideas led to an interest in freer sculptural expression, distinct from functional product design, and also informed his work in unique pieces.\u003c\/p\u003e\n\u003cp\u003eThis example shares the same form as Goblet N540, an art piece produced from 1972 to 1978, but is a unique piece that differs from the standard color variations. The upper section combines clear glass with a metallic champagne-gold material, the middle section is in clear glass, and the lower section is made of clear glass containing minute bubbles.\u003c\/p\u003e\n\u003cp\u003eSigned “Kaj Franck Nuutajärvi Notsjö.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GOLD \/ KFGL832","offer_id":48640876871920,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL832_1.jpg?v=1766930540"},{"product_id":"vase-3","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no definitive evidence regarding the Nuutajärvi Boutique, based on various information currently available, it is presumed to have been a collection of prototypes and event-specific pieces sold only at the Nuutajärvi gallery\/shop in Helsinki in the 1970s.\u003cbr\u003eThese pieces were affixed with a special sticker featuring a pink logo and \"Boutique\" printed in silver, and they did not have a cut signature.\u003cbr\u003eIt is also thought that this was an opportunity to obtain reactions and feedback on the works as pure art, through the sale of prototypes without revealing the designer's name.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece, approximately 40 cm in height.\u003cbr\u003eJudging from the style and later announced works, this piece is believed to be designed by Oiva Toikka.\u003cbr\u003e* There is a repair under a glass-covered section at the bottom.\u003cbr\u003eSince it is not a location prone to damage, it is believed to have occurred during manufacturing.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"BROWN \/ OIVA050","offer_id":48641389822192,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA050_1.jpg?v=1766973333"},{"product_id":"oval-vaseunique-piece","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this glass piece was one of only a few glass works exhibited.\u003cbr\u003eThe heavy, thick glass has a soft texture with a white interior and clear exterior, and is entirely frosted.\u003cbr\u003eIt was designed to harmonize with the graphical patterns of the fabrics, and its elliptical form, with gentle curves, appears to capture the movement of the fabric.\u003cbr\u003eThis work also suggests an experimental sculptural approach that led to KIVI, designed two years later in 1987, which became one of Heikki Orvola's most iconic works.\u003cbr\u003eThe cut signature is \"Heikki Orvola Nuutajärvi.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"WHITE \/ HOGL004","offer_id":48703108677872,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL004_1.jpg?v=1768014431"},{"product_id":"oval-vaseunique-piece-1","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this is one of the few glass pieces that were exhibited.\u003cbr\u003eIt features a soft texture with a frosted finish on thick, weighty blue glass.\u003cbr\u003eDesigned to harmonize with the graphical patterns of the fabrics, it is an elliptical piece with gentle curves, as if capturing the movement of the fabric.\u003cbr\u003eIt also shows an experimental sculptural quality that would lead to KIVI, one of Heikki Orvola's most famous works, which was designed two years later in 1987.\u003cbr\u003eThe cut signature reads, \"Heikki Orvola Nuutajärvi.\"\u003cbr\u003eThe sticker marked \"14\" is the exhibit number from the exhibition.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"BLUE \/ HOGL005","offer_id":48703307120880,"sku":null,"price":82500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL005_1.jpg?v=1768014825"},{"product_id":"tupa-jug-5201-2386","title":"\"TUPA\" JUG 5201\/2386","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-year tenure at IITTALA (from 1946), following his winning of second and third prizes 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 the Stockmann department store in 1948 and subsequently manufactured until 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe TUPA series is a reproduction of \"WALDGLAS (forest glass),\" which was produced in Finland until the mid-19th century. The glass, referred to as \"antique green,\" was specially developed for this series.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a TUPA series pitcher, manufactured from 1948 to 1954.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\"WALDGLAS (forest glass)\" is a green glass primarily made from forest ash and sand. It is not a uniform, high-quality glass, often containing air bubbles, wrinkles, and impurities.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eFurthermore, while we have handled many TUPA series items, most of them have shown signs of scuffs, scratches, and stains. This is a phenomenon not seen in other IITTALA products of 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.\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 \/ KFGL1606","offer_id":48704156336368,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1606_1.jpg?v=1768048186"},{"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":"oiva051","title":"CANDLE HOLDER","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA substantial candle holder by Oiva Toikka.\u003cbr\u003eThe thick clear glass is hollow inside, with two parts—the holder and the base—joined together, and the bottom is polished.\u003cbr\u003eNo cut signature is visible, but a rare sticker remains, marked \"Nuutajärvi Notsjö Oiva Toikka.\"\u003cbr\u003eBased on the style and the sticker, it is presumed to have been manufactured in the 1970s.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA051","offer_id":48726274474224,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA051_1.jpg?v=1768391983"},{"product_id":"ehgl2239","title":"VASE(OPAL BLUE) H957","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA series of vibrant, opaque glass developed through trial and error in 1966.\u003cbr\u003e\nIt is a representative work from the later period of his time at BODA, available in yellow, opal blue, and orange variations.\u003cbr\u003e\nThis particular piece is the opal blue, which was the first opaque glass to be unveiled.\u003cbr\u003e\nThe inspiration for the opaque glass came from turquoise ornaments worn by Bedouin tribes he saw in Egypt in 1964.\u003cbr\u003e\nNo cut signature.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003cbr\u003e\n*Regarding Erik Höglund's products, our store issues certificates of authenticity based on our accumulated experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"BLUE \/ EHGL2239","offer_id":48738888483056,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHGL2239_1.jpg?v=1768737846"}],"url":"https:\/\/elephant-life.com\/en\/collections\/glass.oembed?page=2","provider":"ELEPHANT","version":"1.0","type":"link"}