{"title":"POSTER","description":"\u003cdiv class=\"black-text-01\" style=\"margin-top:0px;\"\u003e\n  \u003ch3 style=\"line-height:1.6; margin:0; text-transform:none;\"\u003e\n    \u003cstrong\u003eNordic Posters\u003c\/strong\u003e\u003cbr\u003e\n    From the 1930s onward\u003cbr\u003e\n    Ships worldwide from Tokyo\n  \u003c\/h3\u003e\n\u003c\/div\u003e","products":[{"product_id":"post066","title":"ARTEK POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA variation of the poster designed by Ben af Schultén to mark Artek’s 40th anniversary. In this version, the “1935 1975” shown on the 1975 edition has been replaced with “ALVAR AALTO.”\u003c\/p\u003e\n\u003cp\u003eThis “ALVAR AALTO” version was also exhibited in the Alvar Aalto exhibition held at the Centre Pompidou in 1979, and is therefore thought to have been produced sometime after 1975 and before 1985, the year of Artek’s 50th anniversary.\u003c\/p\u003e\n\u003cp\u003eSilkscreen print.\u003c\/p\u003e\n\u003cp\u003eShows roll creases. Newly framed in ash. Includes a storage box and cloth sleeve.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eBEN AF SCHULTÉN｜1939–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBen af Schultén studied interior design at the School of Arts and Design in Helsinki and joined Artek in 1964. His work ranged widely across furniture and lighting design, interiors, exhibitions, and graphic design, including posters for Artek and Galerie Artek. From 1976 to 2004, he served as Artek’s art director.\u003c\/p\u003e\n\u003cp\u003eAt Artek, he was involved not only in developing new designs that complemented the Alvar Aalto collection, but also in creating variations on existing models, playing an important role in shaping both the company’s product range and its brand identity.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"BEN AF SCHULTÉN","offers":[{"title":"RED \/ POST066","offer_id":49612211093744,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST066_1.jpg?v=1777123129"},{"product_id":"post067","title":"SUOMALAINEN MUOTO -FORM FINLAND FINNISH DESIGN FROM 1890-1987 Exhibition 1987 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA large-format poster produced for the 1987 touring presentation of SUOMALAINEN MUOTO (Finnish Form) at Tampere Art Museum. The exhibition was first held at Taideteollisuusmuseo (now the Design Museum) in 1986.\u003c\/p\u003e\n\u003cp\u003eThe main image features Kantarelli, one of Tapio Wirkkala’s most celebrated works. Reproduced in monochrome, the delicate tonal gradations of the glass bring out its quiet presence.\u003c\/p\u003e\n\u003cp\u003eMonochrome offset printing.\u003c\/p\u003e\n\u003cp\u003eShows roll creases and areas of wear. Newly framed in ash. Includes a presentation box and cloth sleeve.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA | 1915–1985 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTapio Wirkkala was one of the central figures in bringing Finnish design to international prominence, and is widely regarded as one of the defining designers of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eHe entered the Central School of Applied Arts in 1933, where he studied sculpture under Arttu Brummer, one of the leading figures in Finnish design education. During these formative years, he worked alongside an extraordinary generation of contemporaries who would later help shape the course of Finnish design, including Birger Kaipiainen, Ilmari Tapiovaara, and Armi Ratia. He also developed a close friendship with Tove Jansson, who was then studying at the Ateneum School of Fine Arts in the same building.\u003c\/p\u003e\n\u003cp\u003eAlready recognized for his talent through success in student poster competitions, Wirkkala began his career after graduating in 1936 from his own studio while also working as a graphic designer for an advertising agency. He designed advertisements and printed matter, and entered competitions with great energy and ambition. That same year, he was awarded second prize in a design competition held by Riihimäen Lasi. His early career, however, was significantly interrupted by the outbreak of the Second World War in 1939.\u003c\/p\u003e\n\u003cp\u003eIn 1945, through Birger Kaipiainen, he met the ceramic artist Rut Bryk of Arabia’s art department, whom he later married. Their lifelong partnership, marked by constant dialogue and mutual influence, became a vital foundation for Wirkkala’s artistic thinking.\u003c\/p\u003e\n\u003cp\u003eA decisive turning point came in 1946, when he won the Karhula-Iittala glass design competition. From 1947 onward, he began working with Iittala and embarked on the career as a glass designer that would bring him international recognition. At Iittala, he produced an extraordinary range of work, from highly artistic studio glass to functional products for wider production. Together with his close contemporary Timo Sarpaneva, who joined Iittala in 1951, he helped elevate the company into one of the defining names in Finnish design.\u003c\/p\u003e\n\u003cp\u003eAt the 1951 Milan Triennale, Wirkkala received Grand Prix awards in three categories—exhibition design, plywood sculpture, and lighting—an achievement that established his international reputation. At the 1954 Milan Triennale, he again won Grand Prix in three categories, this time for exhibition design, art glass, and plywood sculpture, accomplishing the exceptionally rare feat of winning three Grand Prix on two separate occasions. These achievements also led to his friendship with Gio Ponti, the great figure of Italian design and founder of Domus. Following the 1954 Triennale, he was invited by Raymond Loewy and worked in Loewy’s New York office from 1955 to 1956, where he encountered an international model of industrial design that had a lasting impact on his later work. This experience also led to his collaboration with Rosenthal in Germany.\u003c\/p\u003e\n\u003cp\u003eWorking across glass, wood, metalwork, and ceramics, Wirkkala developed a practice that moved fluidly between materials and disciplines. Plywood sculpture in particular was an essential part of his oeuvre, bringing together the rhythms of nature and the order of geometry in a way that is fundamental to understanding his visual language. In Italy, he worked with the master craftsmen of Venini to create numerous art glass pieces, while his work for Kultakeskus made him one of the pioneers who opened a new direction for Finnish metal design.\u003c\/p\u003e\n\u003cp\u003eHis work is distinguished by the tension and balance between organic form and abstract structure, drawing equally from nature and from geometric order. Supported by an exceptionally deep understanding of materials, his forms brought artistic expression and industrial production into rare alignment.\u003c\/p\u003e\n\u003cp\u003eAt the core of his practice was what he described as a “sense of the hand.” He made his own models and prototypes using knives and carving tools, and often produced his own glass moulds, developing forms through a physical, tactile process of repeated testing and refinement. The natural environment of Lapland was another enduring source of inspiration, and the changing forms of ice, water, and landscape appear throughout his work in abstracted form.\u003c\/p\u003e\n\u003cp\u003eHis many honours include the Lunning Prize(1951), Grand Prix at the Milan Triennale(1951, 1954, 1960), the Gold Medal at the Milan Triennale(1960), and the Prince Eugen Medal(1980).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"BLACK \/ POST067","offer_id":49612220301552,"sku":null,"price":71500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST067_1_f0bb4a36-c1c2-4934-944a-4b9231369fbf.jpg?v=1777280759"},{"product_id":"post069","title":"Kaj Franck - teema ja muunnelmia 1997 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA poster for Kaj Franck – teema ja muunnelmia, an exhibition held in 1997 at the Town Museum and Art Museum of Heinola.\u003c\/p\u003e\n\u003cp\u003eFour-color offset printing.\u003c\/p\u003e\n\u003cp\u003eShows roll creases. Newly framed in ash. Includes a storage box and cloth sleeve. Price includes shipping.\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":"MULTI COLOR \/ POST069","offer_id":49612407242992,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST069_1.jpg?v=1777124070"},{"product_id":"post070","title":"Kaj Franck Exhibition 2001 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA poster for the Kaj Franck exhibition held in 2001 at the museums of the two glassmakers with which Kaj Franck had been associated.\u003c\/p\u003e\n\u003cp\u003eAt the Iittala Glass Museum, the exhibition focused on product design, while at the Nuutajärvi Glass Museum it presented his art pieces.\u003c\/p\u003e\n\u003cp\u003eOpened in 1977, the Nuutajärvi Glass Museum was itself shaped by Kaj Franck, who designed the exhibition space and display fixtures.\u003c\/p\u003e\n\u003cp\u003eFour-color offset printing.\u003c\/p\u003e\n\u003cp\u003eShows roll creases and areas of wear. Newly framed in ash. Includes a storage box and cloth sleeve. Price includes shipping.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"MULTI COLOR \/ POST070","offer_id":49612436701424,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST070_1.jpg?v=1777124294"},{"product_id":"post072","title":"\"eye, hand and thought\" TAPIO WIRKKALA Exhibition  2000 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA poster for “eye, hand and thought”, the major retrospective of Tapio Wirkkala held at Taideteollisuusmuseo (now the Design Museum) in 2000.\u003c\/p\u003e\n\u003cp\u003eThe main image features a plywood sculpture designed in 1958.\u003c\/p\u003e\n\u003cp\u003ePrinted in four-color offset.\u003c\/p\u003e\n\u003cp\u003eShows roll creases and areas of wear. Newly framed in ash. Includes a presentation box and cloth sleeve.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTAPIO WIRKKALA | 1915–1985 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTapio Wirkkala was one of the central figures in bringing Finnish design to international prominence, and is widely regarded as one of the defining designers of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eHe entered the Central School of Applied Arts in 1933, where he studied sculpture under Arttu Brummer, one of the leading figures in Finnish design education. During these formative years, he worked alongside an extraordinary generation of contemporaries who would later help shape the course of Finnish design, including Birger Kaipiainen, Ilmari Tapiovaara, and Armi Ratia. He also developed a close friendship with Tove Jansson, who was then studying at the Ateneum School of Fine Arts in the same building.\u003c\/p\u003e\n\u003cp\u003eAlready recognized for his talent through success in student poster competitions, Wirkkala began his career after graduating in 1936 from his own studio while also working as a graphic designer for an advertising agency. He designed advertisements and printed matter, and entered competitions with great energy and ambition. That same year, he was awarded second prize in a design competition held by Riihimäen Lasi. His early career, however, was significantly interrupted by the outbreak of the Second World War in 1939.\u003c\/p\u003e\n\u003cp\u003eIn 1945, through Birger Kaipiainen, he met the ceramic artist Rut Bryk of Arabia’s art department, whom he later married. Their lifelong partnership, marked by constant dialogue and mutual influence, became a vital foundation for Wirkkala’s artistic thinking.\u003c\/p\u003e\n\u003cp\u003eA decisive turning point came in 1946, when he won the Karhula-Iittala glass design competition. From 1947 onward, he began working with Iittala and embarked on the career as a glass designer that would bring him international recognition. At Iittala, he produced an extraordinary range of work, from highly artistic studio glass to functional products for wider production. Together with his close contemporary Timo Sarpaneva, who joined Iittala in 1951, he helped elevate the company into one of the defining names in Finnish design.\u003c\/p\u003e\n\u003cp\u003eAt the 1951 Milan Triennale, Wirkkala received Grand Prix awards in three categories—exhibition design, plywood sculpture, and lighting—an achievement that established his international reputation. At the 1954 Milan Triennale, he again won Grand Prix in three categories, this time for exhibition design, art glass, and plywood sculpture, accomplishing the exceptionally rare feat of winning three Grand Prix on two separate occasions. These achievements also led to his friendship with Gio Ponti, the great figure of Italian design and founder of Domus. Following the 1954 Triennale, he was invited by Raymond Loewy and worked in Loewy’s New York office from 1955 to 1956, where he encountered an international model of industrial design that had a lasting impact on his later work. This experience also led to his collaboration with Rosenthal in Germany.\u003c\/p\u003e\n\u003cp\u003eWorking across glass, wood, metalwork, and ceramics, Wirkkala developed a practice that moved fluidly between materials and disciplines. Plywood sculpture in particular was an essential part of his oeuvre, bringing together the rhythms of nature and the order of geometry in a way that is fundamental to understanding his visual language. In Italy, he worked with the master craftsmen of Venini to create numerous art glass pieces, while his work for Kultakeskus made him one of the pioneers who opened a new direction for Finnish metal design.\u003c\/p\u003e\n\u003cp\u003eHis work is distinguished by the tension and balance between organic form and abstract structure, drawing equally from nature and from geometric order. Supported by an exceptionally deep understanding of materials, his forms brought artistic expression and industrial production into rare alignment.\u003c\/p\u003e\n\u003cp\u003eAt the core of his practice was what he described as a “sense of the hand.” He made his own models and prototypes using knives and carving tools, and often produced his own glass moulds, developing forms through a physical, tactile process of repeated testing and refinement. The natural environment of Lapland was another enduring source of inspiration, and the changing forms of ice, water, and landscape appear throughout his work in abstracted form.\u003c\/p\u003e\n\u003cp\u003eHis many honours include the Lunning Prize(1951), Grand Prix at the Milan Triennale(1951, 1954, 1960), the Gold Medal at the Milan Triennale(1960), and the Prince Eugen Medal(1980).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TAPIO WIRKKALA","offers":[{"title":"GREY \/ POST072","offer_id":49612437979376,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST072_1.jpg?v=1777124552"},{"product_id":"post058","title":"HAY \"NEW ORDER\" MILAN DESIGN WEEK 2016 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003eA poster for NEW ORDER, the modular shelving system designed by Stefan Diez for HAY.\u003c\/p\u003e\n\n  \u003cp\u003eProduced for Milan Design Week in 2016, it was designed by the German artist, photographer, and illustrator Martin Fengel.\u003c\/p\u003e\n\n  \u003cp\u003eA graphic visualization of NEW ORDER’s modular structure is combined with Fengel’s characteristically playful illustrations.\u003c\/p\u003e\n\n  \u003cp\u003eShows roll creases.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OTHER","offers":[{"title":"BLUE \/ POST058","offer_id":49612438634736,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST058_1.jpg?v=1777124716"},{"product_id":"post059","title":"HAY \"COLOUR PLAID\" MILAN DESIGN WEEK 2016 POSTER","description":"\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003eA poster for \u003cem\u003eCOLOUR PLAID\u003c\/em\u003e, the blanket designed by Scholten \u0026amp; Baijings for HAY.\u003c\/p\u003e\n\n  \u003cp\u003eProduced for Milan Design Week in 2016, it features a printed graphic derived from the plaid’s color pattern.\u003c\/p\u003e\n\n  \u003cp\u003e* Shows roll creases.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OTHER","offers":[{"title":"YELLOW \/ POST059","offer_id":49612439224560,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/POST059_1.jpg?v=1777124884"}],"url":"https:\/\/elephant-life.com\/en\/collections\/poster.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}