been regarded a particularly notable source of classical glassware, the
countries bordering the Baltic Sea embraced the growth in popularity of the Art
Glass movement which mushroomed alongside the wider awaking of Scandinavian
design ideas. Essentially simplistic shapes with echoes of a more traditional
balance of form and function, the blues and whites of clear skies and
snowfields are common themes in pieces from the region, tinged with the greens
of the great coniferous forests which shroud the mountains and occasional
splashes of volcanic reds and oranges.
Of all the
Nordic countries, it was Sweden which was to the fore in glass production,
simply because it was generally the most affluent and stable area, and there
was more scope for the population to undertake and explore artistic endeavours.
The Swedes lead
from the front, pioneering methods of producing blown and cased glassware,
while specific manufacturers became known for carved and cut wares. Ohrstrom,
Lindstrand, Ernest Gordon and Bergqvist are all eminently collectable
practitioners of Sweden’s glass arts.
aspects of design, Swedish glass artists were just as likely to be known for
creativity with ceramics, textiles and paintings as they were for their
vitreous endeavours alone, and the flair and renown for their production of
housewares in general was to become a recognised national trait.
Finns excelled in the creation of blown glass items, particularly in the 1950’s
and 60’s when they embraced pop art culture with a somewhat incongruous free
spirit. Wirkkala and Sarpaneva separately developed a range including vases,
candlesticks and jugs, all which bore a rugged, textural hallmark redolent of
their own country’s more readily acknowledged somewhat bluff and unyielding
persona, and the peculiarly Danish fancy for working with plastics was
reflected by Holmegaard & Co’s production of bright, colourful blown-glass
pieces that resembled the synthetic material.
A Kosat Boda Kjell Engman light sculpture from c1980. Available from Scottish Antiques online store. This is best displayed when lit from beneath. The clear polished base allows light to illuminate the mask viewd from the clear high relief panel
The applied snake is a signature form for Hydman Vallien. If this seems at all familiar then think British airways, this lady was responsible for numerous tail designs. This piece is unique. This reminded us of the work of Joan Miro.
We believe this to be from the Aphrodite range produced in the mid 80s. Vallien is one of the most influential Scandanavian designers of the last 50 years, in the top division with Lindstrand and Palmqvist. He started his career as a potter in the United
allien joined in 1963. He has signed this piece and left his "cauldron" mark. Afors was merged with Kosta Boda in 1976. We are unable to decipher the serial or pattern number. Although this is signed Afors the name continued to be used post merg