{"title":"IITTALA","description":"","products":[{"product_id":"art-objectq-color","title":"ART OBJECT (Q-COLOR)","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nThis piece is made with a special translucent pale blue \"Q-color\" glass developed by Iittala, which produces a unique brilliance when light passes through it. \u003cbr\u003eWorks using \"Q-color\" glass were designed around 1948-1951, and this piece is also presumed to have been designed during this period.\n\u003c\/p\u003e\n\u003cp\u003e\nA white version is held in the EMMA Tapio Root Foundation collection, and a green version in the Kakkonen collection, but neither collection provides details such as a product number. Furthermore, it is not featured in \"eye, hand and thought,\" the comprehensive book on TAPIO WIRKKALA.\n\u003c\/p\u003e\n\u003cp\u003e\nA very rare piece.\u003cbr\u003eNo cut signature.\u003cbr\u003e*It is in good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His activities became full-fledged after winning the Karhula-Iittala glass design competition in 1946, and he established a global reputation with his exhibition design for the Finnish Pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to one-off art glass and sculptures, seamlessly bridging different domains such as nature and geometry, craft and industrial production, and art and practical items.\u003cbr\u003e\n    Through a sculptural beauty based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" and he practiced a unique design process that involved meticulously examining forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954, 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL264","offer_id":48489688989936,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL264_1.jpg?v=1765518083"},{"product_id":"art-objectq-color-3266","title":"ART OBJECT (Q-COLOR) 3266","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nDesigned in 1947 and manufactured from 1948 to 1951.\u003cbr\u003e\nThis is one of the earliest pieces designed for IITTALA.\u003cbr\u003e\nArt Object 3266 was available in yellow and purple color variations, but this is a rare piece made using \"Q color\" glass, which was used in other works during the same period.\u003cbr\u003e\n\"Q color\" is a special glass developed by Iittala that emits a unique iridescence when light passes through it.\n\u003c\/p\u003e\n\u003cp\u003e\nThe absence of a cut signature is likely due to an area of color cloudiness on the side.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala is one of the most important figures who led Finnish design to international success, and one of the most prominent designers of the 20th century.\u003cbr\u003e\n    His career truly began after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation through his exhibition design for the Finnish pavilion at the 1951 Milan Triennale.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal craftsmanship, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres from mass-produced items to one-off art glass and sculptures, seamlessly blending different realms such as nature and geometry, craftsmanship and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he achieved a high-level fusion of artistic expression and industrial production.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was a \"sense of touch,\" practicing a unique design process involving hundreds of sketches, thorough verification of forms through model making, and repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories—exhibition, glass, and wooden sculpture—at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLUE \/ TWGL316","offer_id":48489816162544,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL316_1.jpg?v=1765518268"},{"product_id":"art-object-3538","title":"ART OBJECT 3538","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cp\u003e\nManufactured from 1952 to 1955.\u003cbr\u003e\nThis is one of the pieces using the comb-cut technique, introduced in 1952 as a new surface decoration method following the line cut used in his representative work \"Kantalelli\" and others.\u003cbr\u003e\nComb-cutting is a technique where parallel grooves are carved at a pitch similar to that made by a comb.\n\u003c\/p\u003e\n\u003cp\u003e\nThis piece was manufactured by mold-blowing, with comb cuts applied to the outer surface.\u003cbr\u003e\nThe cut signature reads \"TAPIO WIRKKALA - IITTALA - 55\", indicating it was manufactured in 1955.\u003cbr\u003e\n*In good condition with no noticeable damage.\n\u003c\/p\u003e\n\u003c!-- 下段：プロフィール（Tapio Wirkkala） --\u003e\n\u003cdiv style=\"margin-top:48px;\"\u003e\n\n  \u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA｜1915-1985｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003e\n    Tapio Wirkkala was one of the most important figures to lead Finnish design to international success and a leading designer of the 20th century.\u003cbr\u003e\n    His career gained momentum after winning the Karhula-Iittala glass design competition in 1946, and he established his global reputation with the exhibition design for the Finnish pavilion at the Milan Triennale in 1951.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He worked in a wide range of fields including glass, woodworking, metal crafts, and ceramics, collaborating with many companies such as Iittala, Kultakeskus, and Rosenthal.\u003cbr\u003e\n    He transcended genres, from mass-produced products to unique art glass and sculptures, seamlessly blending seemingly disparate areas such as nature and geometry, craft and industrial production, and art and utilitarian objects.\u003cbr\u003e\n    Through his aesthetic forms based on a deep understanding of materials, he connected artistry and industrial production at a high level.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At the core of his creative approach was the \"sense of touch\"; he practiced a unique design process involving meticulous examination of forms by drawing hundreds of sketches and creating models, followed by repeated prototyping.\u003cbr\u003e\n    He was also strongly influenced by the nature of Lapland, and its landscapes and ice formations served as inspiration for many of his works.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He received numerous awards, including the Lunning Prize (1956) and Grand Prix awards in three categories (exhibition, glass, and wood sculpture) at the Milan Triennale (1954 and 1957).\n  \u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"CLEAR \/ TWGL252","offer_id":48496065839344,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TWGL252_1.jpg?v=1765526739"},{"product_id":"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":"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":"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":"aalto-vaseclear-9744-3031-145-wooden-mold","title":"AALTO VASE (CLEAR) 9744\/3031-145 WOODEN MOLD","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAlvar Aalto won a design competition for an exhibition at the following year's Paris World's Fair, held in 1936 by KARHULA-IITTALA,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ewith multiple sketches of asymmetrical, organic curves titled \"Leather Trousers for an Eskimo Woman.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAt the Paris World's Fair, 10 pieces manufactured by Karhula were exhibited in the Finnish Pavilion he designed, marking Alvar Aalto's first solo glass works.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn the same year, he also designed two flower vases for the Savoy restaurant, which he was in charge of the interior design for,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand one of them, model number 9750\/3030, is still a popular product manufactured today and is commonly known as the SAVOY VASE.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis is model number 9744\/3031, 145mm high, manufactured using a wooden mold.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSince there is no cut signature, the exact manufacturing date is unknown.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt is a second quality product or prototype that was not sold, either manufactured by KARHULA until 1948 (mostly without a cut signature, with some exceptions), or by IITTALA after 1949.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIITTALA also seems to have produced a limited number of items using wooden molds in the 1980s and 1990s.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is highly probable that it is the latter.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*It is in good condition with no noticeable damage.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ALVAR AALTO","offers":[{"title":"CLEAR \/ AAGL049","offer_id":48594220351728,"sku":null,"price":242000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/AAGL049_1.jpg?v=1765849603"},{"product_id":"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":"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":"ljpp004","title":"\"CHRYSANTHEMUM\" VASE 2773","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eLisa Johansson-Pape designed lighting for Iittala for many years starting in 1948, and in 1963, she unveiled her first glassware series, a collection of vases named after flowers: \"VIOLA,\" \"ANEMONE,\" \"ACHILLEA,\" and \"CHRYSANTHEMUM.\"\u003cbr\u003eThese were the only glassware pieces she ever designed for Iittala and were produced for just three years, from 1963 to 1965.\u003cbr\u003e\u003cbr\u003eThis is \"CHRYSANTHEMUM,\" the largest and only standalone piece in the series, featuring a conical protrusion at the base.\u003cbr\u003eIt has a cut signature.\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\u003eLISA JOHANSSON-PAPE | 1907-1989 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eLisa Johansson-Pape was a Finnish designer whose practice spanned furniture, textiles, and lighting. She was one of the co-founders of the Finnish lighting association and served for many years as art director of Friends of Finnish Handicraft, contributing to the development, promotion, and study of design and craft in Finland.\u003c\/p\u003e\n\u003cp\u003eIn 1924, she entered the furniture drawing department of the Central School of Applied Arts, where she studied under Arttu Brummer, one of the leading figures in Finnish design. She began her career as a furniture designer in 1927, and in the early 1930s actively took part in design competitions, winning third prize in the 1932 Karhula-Iittala glass design competition. From 1937, she worked in Stockmann’s design department, and from 1942 designed lighting for Orno, then a subsidiary of Stockmann, where she created many of the works that would come to define her career. In 1948, she began collaborating with Iittala, designing not only lighting but also glass vases.\u003c\/p\u003e\n\u003cp\u003eJohansson-Pape also maintained a particularly close relationship with the textile artist and designer Dora Jung. In addition to exhibiting together, she was involved in the planning of Jung’s exhibitions in Finland and abroad, and later took part in organizing her archive after her death.\u003c\/p\u003e\n\u003cp\u003eHer many distinctions include a Silver Medal at the Milan Triennale in 1951, a Gold Medal in 1954, and the Pro Finlandia medal in 1957.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"LISA JOHANSSON-PAPE","offers":[{"title":"BLUE \/ LJPP004","offer_id":48845772521712,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/LJPP004_1.jpg?v=1771494851"},{"product_id":"sarp470","title":"\"ARKIPELAGO\"  CANDLE HOLDER 2644","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe ARKIPELAGO series was created through a special technique developed by Timo Sarpaneva. By pouring molten glass into a mold in several stages, layered strata are formed, while differences in temperature during the cooling process create a rippled, wrinkled surface. Suspended within the glass are bubbles of varying size, scattered in a seemingly random pattern.\u003c\/p\u003e\n\n\u003cp\u003eThis example is a candleholder from the ARKIPELAGO series, designed in 1979 and manufactured from 1980 to 1983. Although the series includes several variations in form, the cylindrical model appears to have had a comparatively short production period.\u003c\/p\u003e\n\n\u003cp\u003eIt has a four-part layered structure, including the upper candleholder section.\u003c\/p\u003e\n\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP470","offer_id":48932333748464,"sku":null,"price":35750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP470_1.jpg?v=1772533702"},{"product_id":"sarp503","title":"\"ARKIPELAGO\"  CANDLE HOLDER 2644","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe ARKIPELAGO series was created through a special technique developed by Timo Sarpaneva. By pouring molten glass into a mold in several stages, layered strata are formed, while differences in temperature during the cooling process create a rippled, wrinkled surface. Suspended within the glass are bubbles of varying size, scattered in a seemingly random pattern.\u003c\/p\u003e\n\u003cp\u003eThis example is a candleholder from the ARKIPELAGO series, designed in 1979 and manufactured from 1980 to 1983. Although the series includes several variations in form, the cylindrical model appears to have had a comparatively short production period.\u003c\/p\u003e\n\u003cp\u003eIt has a three-part layered structure, including the upper candleholder section.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n  \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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP503","offer_id":48932343808240,"sku":null,"price":14300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP503_1.jpg?v=1772533880"},{"product_id":"sarp473","title":"\"ARKIPELAGO\"  CANDLE HOLDER 2644","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe ARKIPELAGO series was created through a special technique developed by Timo Sarpaneva. By pouring molten glass into a mold in several stages, layered strata are formed, while differences in temperature during the cooling process create a rippled, wrinkled surface. Suspended within the glass are bubbles of varying size, scattered in a seemingly random pattern.\u003c\/p\u003e\n\u003cp\u003eThis example is a candleholder from the ARKIPELAGO series, designed in 1979 and manufactured from 1980 to 1983. Although the series includes several variations in form, the cylindrical model appears to have had a comparatively short production period.\u003c\/p\u003e\n\u003cp\u003eIt has a two-part layered structure, including the upper candleholder section.\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 \/ SARP473","offer_id":48932347347184,"sku":null,"price":9350.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP473_1.jpg?v=1772533986"},{"product_id":"sarp490","title":"\"TOMI\" TUMBLER 2015 MOLD-A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eTimo Sarpaneva was constantly engaged in exploring and experimenting with new possibilities in glass, always in search of new techniques. In 1963, this led him to develop into finished works a surface expression inspired by a charred wooden mold that had emerged as a by-product of another experiment.\u003c\/p\u003e\n\u003cp\u003eThat same year, he created unique pieces using combinations of such charred wooden molds, and in 1964 he went on to introduce the FINLANDIA series, one of his best-known works.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface produced by the direct transfer of the charred mold onto the glass went on to become a major trend that continued until the mid-1970s.\u003c\/p\u003e\n\u003cp\u003eThis example was designed in 1965 as one of the earliest products to employ the same expression, and was produced from 1969 to 1975.\u003c\/p\u003e\n\u003cp\u003eFor production, the original charred wooden molds were most likely remade in graphite or a similar material, and at least three different molds are known to have been used.\u003c\/p\u003e\n\u003cp\u003eThe 11th image shows a comparative view, with A, B, and C arranged from left to right.\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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP490","offer_id":48935978500336,"sku":null,"price":7150.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP490_1.jpg?v=1772617460"},{"product_id":"sarp494","title":"\"TOMI\" TUMBLER 2015 MOLD-B","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eTimo Sarpaneva was constantly engaged in exploring and experimenting with new possibilities in glass, always in search of new techniques. In 1963, this led him to develop into finished works a surface expression inspired by a charred wooden mold that had emerged as a by-product of another experiment.\u003c\/p\u003e\n\u003cp\u003eThat same year, he created unique pieces using combinations of such charred wooden molds, and in 1964 he went on to introduce the FINLANDIA series, one of his best-known works.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface produced by the direct transfer of the charred mold onto the glass went on to become a major trend that continued until the mid-1970s.\u003c\/p\u003e\n\u003cp\u003eThis example was designed in 1965 as one of the earliest products to employ the same expression, and was produced from 1969 to 1975.\u003c\/p\u003e\n\u003cp\u003eFor production, the original charred wooden molds were most likely remade in graphite or a similar material, and at least three different molds are known to have been used.\u003c\/p\u003e\n\u003cp\u003eThe 11th image shows a comparative view, with A, B, and C arranged from left to right.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"CLEAR \/ SARP494","offer_id":48936138014960,"sku":null,"price":7150.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP494_1.jpg?v=1772617644"},{"product_id":"sarp507","title":"\"TOMI\" TUMBLER 2015 MOLD-C","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eTimo Sarpaneva was constantly engaged in exploring and experimenting with new possibilities in glass, always in search of new techniques. In 1963, this led him to develop into finished works a surface expression inspired by a charred wooden mold that had emerged as a by-product of another experiment.\u003c\/p\u003e\n\u003cp\u003eThat same year, he created unique pieces using combinations of such charred wooden molds, and in 1964 he went on to introduce the FINLANDIA series, one of his best-known works.\u003c\/p\u003e\n\u003cp\u003eThe irregular, textured surface produced by the direct transfer of the charred mold onto the glass went on to become a major trend that continued until the mid-1970s.\u003c\/p\u003e\n\u003cp\u003eThis example was designed in 1965 as one of the earliest products to employ the same expression, and was produced from 1969 to 1975.\u003c\/p\u003e\n\u003cp\u003eFor production, the original charred wooden molds were most likely remade in graphite or a similar material, and at least three different molds are known to have been used.\u003c\/p\u003e\n\u003cp\u003eThe 11th image shows a comparative view, with A, B, and C arranged from left to right.\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 \/ SARP507","offer_id":48936193982704,"sku":null,"price":7150.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP507_1.jpg?v=1772617761"},{"product_id":"hkaw002","title":"ART WORKS 2009 \"KOHTA\" PLUM\/RED","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Art Works series was a project by Iittala that followed the lineage of art glass up to around the 1960s and the Pro Arte series, while also seeking to preserve and further develop the skills of Nuutajärvi’s master glassblowers through the collaborative creation of art pieces.\u003cbr\u003eIt was developed between 2009 and 2013, excluding 2011.\u003cbr\u003eThe first designer selected for the series in 2009 was Harri Koskinen, one of the leading figures in contemporary Finnish design.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eKohta\u003c\/i\u003e, composed of cylindrical glass forms in different colours layered together, is one of the signature works of the series. As the two layers of glass overlap, a third colour appears at the junction, expressing the relationship between the individual elements. The work was realized through highly advanced technique and a precise production process.\u003cbr\u003eIn Finnish, \u003ci\u003eKohta\u003c\/i\u003e means “encounter” or “point of contact.” The name derives from the making process of the work, and also refers to the name of the technique itself, developed from the incalmo technique and reconfigured to suit the properties of the glass used at Nuutajärvi.\u003c\/p\u003e\n\u003cp\u003eIt was produced in two colour variations — red \/ plum and blue \/ grey — with each edition limited to 100 pieces.\u003cbr\u003eSigned “Harri Koskinen Iittala 2009 76\/100”. Includes the original wooden box and certificate.\u003cbr\u003e* Deadstock.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HARRI KOSKINEN","offers":[{"title":"RED \/ HKAW002","offer_id":49460603289840,"sku":null,"price":247500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKAW002_1.jpg?v=1774528630"},{"product_id":"grcc247","title":"relations™  WHISKY(CLEAR) 300ml","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\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\u003e\n  Its 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\n  \u003cp\u003eAnother notable feature is the gradation created by the heavy base and the differences in thickness.\u003cbr\u003e\n  The 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\u003e\n  When stacked, this gradation continues from one glass to another, further enhancing the beauty of the form.\u003c\/p\u003e\n\n  \u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KONSTANTIN GRCIC","offers":[{"title":"CLEAR \/ GRCC247","offer_id":49494115287280,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/GRCC247_1.jpg?v=1775120810"},{"product_id":"grcc255","title":"relations™ GRCIC TUMBLER(GREY) 230ml 2pcs with BOX","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\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\u003e\n  Its 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\n  \u003cp\u003eAnother notable feature is the gradation created by the heavy base and the differences in thickness.\u003cbr\u003e\n  The 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\u003e\n  When stacked, this gradation continues from one glass to another, further enhancing the beauty of the form.\u003c\/p\u003e\n\n  \u003cp\u003e* Deadstock. Set of two. The box shows dirt, wear, and other signs of age.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KONSTANTIN GRCIC","offers":[{"title":"GREY \/ GRCC255","offer_id":49494121251056,"sku":null,"price":17600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/GRCC255_1.jpg?v=1775121001"},{"product_id":"grcc253","title":"relations™ GRCIC TUMBLER(CLEAR) 230ml","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\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\u003e\n  Its 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\n  \u003cp\u003eAnother notable feature is the gradation created by the heavy base and the differences in thickness.\u003cbr\u003e\n  The 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\u003e\n  When stacked, this gradation continues from one glass to another, further enhancing the beauty of the form.\u003c\/p\u003e\n\n  \u003cp\u003e* Shows signs of use, including minor scratches.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KONSTANTIN GRCIC","offers":[{"title":"CLEAR \/ GRCC253","offer_id":49494122594544,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/GRCC253_1.jpg?v=1775121197"},{"product_id":"sarp495","title":"VASE(BLUE GREY) 2794-150","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 vase, designed in 1960, follows the form of the i-104 tumbler and enlarges it into a vase.\u003c\/p\u003e\n\u003cp\u003eProduced in four sizes, this is the largest.\u003c\/p\u003e\n\u003cp\u003eA rare model, it was manufactured only from 1960 to 1961.\u003c\/p\u003e\n\u003cp\u003e* Minor scratches are present, but it remains in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"BLUE \/ SARP495","offer_id":49586716475632,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP495_1.jpg?v=1776670784"},{"product_id":"sarp476","title":"VASE(LILAC GREY) 2794-150","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 vase, designed in 1960, follows the form of the i-104 tumbler and enlarges it into a vase.\u003c\/p\u003e\n\u003cp\u003eProduced in four sizes, this is the largest.\u003c\/p\u003e\n\u003cp\u003eA rare model, it was manufactured only from 1960 to 1961.\u003c\/p\u003e\n\u003cp\u003e* Minor scratches are present, but it remains in 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\n  \u003cp\u003e\n    Timo 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    While 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    His 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    At 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Working 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.”\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    Beyond 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.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    He 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.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TIMO SARPANEVA","offers":[{"title":"LILAC \/ SARP476","offer_id":49586719817968,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP476_1.jpg?v=1776670863"},{"product_id":"sarp497","title":"i-102 TUMBLER(LILAC 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":"LILAC \/ SARP497","offer_id":49586739806448,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP497_1.jpg?v=1776671715"},{"product_id":"sarp448","title":"i-103 TUMBLER(CLEAR) 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 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 \/ SARP448","offer_id":49586745671920,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP448_1.jpg?v=1776671982"},{"product_id":"sarp477","title":"i-104 TUMBLER(LILAC GREY) 2004-15","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-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\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 \/ SARP477","offer_id":49586747441392,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP477_1.jpg?v=1776672137"},{"product_id":"sarp516","title":"i-103 TUMBLER(BLUE GREY) 2003-4","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-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 \/ SARP516","offer_id":49586753143024,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP516_1.jpg?v=1776672423"},{"product_id":"sarp481","title":"i-103 TUMBLER(BLUE GREY) 2003-4","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-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 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 \/ SARP481","offer_id":49586754683120,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP481_1.jpg?v=1776672510"},{"product_id":"sarp484","title":"i-103 TUMBLER(LILAC GREY) 2003-4","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-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":"LILAC \/ SARP484","offer_id":49586763006192,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP484_1.jpg?v=1776672866"},{"product_id":"sarp464","title":"i-104 TUMBLER(BLUE GREY) 2004-4","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\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 \/ SARP464","offer_id":49586856886512,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP464_1.jpg?v=1776673000"},{"product_id":"sarp509","title":"i-401 BOTTLE(GREEN GREY) 2501","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-401, a bottle from the i-line series, designed in 1956. It was produced from 1956 to 1968.\u003c\/p\u003e\n\u003cp\u003eWith its bird-like character, defined by the beak-shaped spout and the generous curve of its body, it is one of the most iconic models of the i-line series. The pointed, mountain-like projection on the base is another of its distinctive design features.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works exhibited at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eGreen-grey was one of the earliest colors in the series and is a rare shade discontinued in 1957. It was also one of the pieces exhibited at the 1957 Milan Triennale.\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\u003eSigned “TIMO SARPANEVA IITTALA 56 (or 57).” The final digit could not be clearly identified.\u003c\/p\u003e\n\u003cp\u003eThere is some wear and minor scratching, but it remains 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\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 \/ SARP509","offer_id":49592542462192,"sku":null,"price":35750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP509_1.jpg?v=1776765675"},{"product_id":"sarp489","title":"i-401 BOTTLE(BLUE GREY) 2501","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-401, a bottle from the i-line series, designed in 1956. It was produced from 1956 to 1968.\u003c\/p\u003e\n\u003cp\u003eWith its bird-like character, defined by the beak-shaped spout and the generous curve of its body, it is one of the most iconic models of the i-line series. The pointed, mountain-like projection on the base is another of its distinctive design features.\u003c\/p\u003e\n\u003cp\u003eIt was one of the works exhibited at the 1957 Milan Triennale.\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\u003eSigned “TIMO SARPANEVA 2501.”\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 \/ SARP489","offer_id":49592555340016,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP489_1.jpg?v=1776765864"},{"product_id":"sarp508","title":"ART OBJECT \"CLARITAS\" MIST BALL 3665","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003e“Claritas,” an art glass series introduced by Timo Sarpaneva in 1984.\u003c\/p\u003e\n\u003cp\u003e“Claritas” was not only an artistic statement by Sarpaneva, but also a project aimed at passing on the skills of Iittala’s glassmakers to a new generation.\u003c\/p\u003e\n\u003cp\u003eIn the 1950s, Iittala gave designers the freedom to work experimentally, and the art glass created in collaboration with master glassmakers received international acclaim. From the mid-1960s onward, however, that momentum gradually declined, as rationalization and mechanization placed greater emphasis on efficiency and profitability, and the production of art glass became increasingly limited.\u003c\/p\u003e\n\u003cp\u003eAgainst this background, and in response to concerns raised from within the design side, Sarpaneva was once again given the freedom to work more openly in the early 1980s. One of the most important results was “Claritas.”\u003c\/p\u003e\n\u003cp\u003eRooted in the skills that Iittala’s master craftsmen had built up over many years, “Claritas” was created using an innovative technique unlike those used before. Its production demanded a high level of technical skill and experience, pushing art glass at Iittala into a new phase while also serving as a means of passing those skills on to younger makers.\u003c\/p\u003e\n\u003cp\u003eWhat defines “Claritas” is the depth and optical effect created within the thick glass, producing different impressions depending on the angle from which it is seen. Sarpaneva described it as an attempt to enclose, within the stillness of glass, a realm beyond time—to make the fleeting present and its fragile beauty endure.\u003c\/p\u003e\n\u003cp\u003eThis example is “Mist Ball,” one of the works in the “Claritas” series, designed in 1984 and produced from 1985 to 1989. Signed “TIMO SARPANEVA 3\/1986,” it is presumed to be the third piece made in 1986.\u003c\/p\u003e\n\u003cp\u003e* In 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 \/ SARP508","offer_id":49747095814384,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP508_1.jpg?v=1779247525"},{"product_id":"sarp519","title":"ART OBJECT \"BIRD'S HEAD\" 3566","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA sculptural glass work designed by Timo Sarpaneva in 1953, titled “Bird’s Head” (\u003cem\u003eLinnunpää\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp\u003eIt belongs to a group of works created with the 1954 Milan Triennale in mind, and is distinguished by its organic form and the internal void created through the stick-blowing technique.\u003c\/p\u003e\n\u003cp\u003eMolten glass was first gathered on the blowpipe and shaped while rotating inside a cylindrical wooden mold. After the form was further refined with wet cardboard, a hole was opened in the middle with a pointed metal tool, and a water-soaked wooden stick was inserted to create the internal space.\u003c\/p\u003e\n\u003cp\u003eIt is a sculptural work that explores both form and the optical qualities of clear glass.\u003c\/p\u003e\n\u003cp\u003eThe same group also includes \u003cem\u003eOrchid\u003c\/em\u003e (\u003cem\u003eOrkidea\u003c\/em\u003e), one of Sarpaneva’s best-known works, but \u003cem\u003eBird’s Head\u003c\/em\u003e differs in its fuller volume and in the sharply defined edge created on the reverse through cutting.\u003c\/p\u003e\n\u003cp\u003eA rare model produced between 1954 and 1957. Signed “TIMO SARPANEVA IITTALA -55,” indicating that this example was made in 1955. It was one of the works that received the Grand Prix at the 1954 Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eWeight approx. 2.2 kg.\u003c\/p\u003e\n\u003cp\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\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 \/ SARP519","offer_id":49749997945072,"sku":null,"price":275000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SARP519_1.jpg?v=1779338401"}],"url":"https:\/\/elephant-life.com\/en\/collections\/iittala.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}