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At the London outlet of Nordic gallery Modernity, a large glass apple known as Äpplet sits on a round birch table. Designed by Ingeborg Lundin for Swedish glassworks Orrefors in 1957, Äpplet is a significant piece in the world of design, with one even being held in the V&A museum’s collection. While a clear-glass version is available on Modernity’s website for £3,508, this particular apple’s vibrant green color brings the price tag up to £11,500.
The glass factories in Nordic countries experienced a period of reinvention following World War II, producing both decorative art pieces and designs for everyday use that embodied the spirit of the times. Combining functionality, elegance, and a sense of optimism, these designs drew inspiration from nature, pop art, and culture. Sebastien Holt, UK director of Modernity, explains that contemporary buyers are drawn to this combination, often coming into the gallery looking for furniture or textiles and finding something unexpected to love.
Kyösti Kakkonen, a prominent collector of glass and ceramics in Finland, has amassed an impressive collection of 10,000 pieces over 35 years. Among his most treasured items is Pilkkiavanto, a piece by acclaimed designer Tapio Wirkkala. Only 10 of these pieces were ever made, and its texture perfectly resembles ice taken from a frozen lake. Kakkonen’s wife also collects, and their respective collections compete for space in their two homes. To ease the overflow, Kakkonen recently loaned 1,300 pieces to the EMMA Museum in Helsinki as a gift to the nation. Highlights of the collection include Gunnel Nyman’s delicate Rose Petal from 1948 and Timo Sarpaneva’s Orchid, which helped him win a Grand Prix at the 1954 Milan Triennale.
Following Soviet occupation and two world wars, Finland made efforts to reshape its national identity, with exposure at international design fairs playing a key role. This effort not only served as a PR exercise but also helped fill the economic coffers. Glass factories increased production, with notable ones including Reijmyre, Orrefors, and Kosta in Sweden; Nuutajärvi, Riihimäki, and Iittala in Finland; and Holmegaard in Denmark. The establishment of on-site art departments allowed individual designers to flourish and gain recognition. Kurt Kovacs Braidley, manager at antiques store Aelfred, emphasizes the significance of these departments in nurturing the true talents of glass design.
Aelfred, located in Hackney Wick, is the latest venture from Scandinavian interiors expert Nina Hertig. It specializes in midcentury Nordic furniture, ceramics, and glass, reflecting the growing demand for elegant glassware during the 1950s and ’60s. Today, you can find unsigned design classics like Per Lütken’s Provence bowls (Holmegaard, 1955) starting from as little as £150, and sets of stackable harlequin tumblers popularized by Kaj Franck and Saara Hopea (Nuutajärvi, 1950s) starting from £10 each.
When it comes to the value of glassware, factors such as quantity, condition, provenance, and color all play a role. Lucinda Wright, an antique glass specialist from Alderney & Wright, points out the importance of signed, dated, and catalogued pieces from renowned designers. Vinterior.co, an online marketplace, offers a wide range of Nordic glass, with glasses starting from £30 and a signed plate by Tapio Wirkkala priced at £8,560.
For those seeking eye-catching accent pieces, Galerie56 in New York’s Tribeca district regularly hosts exhibitions featuring works by prominent Nordic glass designers like Timo Sarpaneva and Alvar Aalto, with prices starting from $9,000. However, Kovacs Braidley suggests keeping an eye on designs by Helena Tynell, who he believes should be recognized as one of the greatest glass designers of the 20th century. Tynell’s Sun Bottle (Riihimäki, 1963) exudes vibrant energy. Fans of pop art can explore a rainbow collection at artandutility.co.uk, where Tynell’s works are priced at £530, and an array of other designers are showcased as well.
Riihimäki in the 1960s was home to a trio of female designers including Nanny Still and Tamara Aladin, who captured the spirit of the times perfectly with their shapes, colors, and textures. This niche of glassware has long been overlooked, making it a ripe opportunity for investment.
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