The Nordic countries, Sweden, Norway, Finland and Denmark,
played a minor role in the historic development of world
glassmaking. So, it is an astonishing fact that the area,
with some 20 million inhabitants, produced more Post-War
glass designers of international consequence than the rest
of the Western World combined, with a population many times
Left: 1968. Noah’s Ark suncatchers. Designed:
Michael Bang for Holmegaard, Denmark.
Right: 1954. Devil’s Fist crystal sculpture.
Designed: Timo Sarpaneva for Iittala,
Inevitably, rivalis abounded within such large, disparate
group of strong-minded, egocentric individuals. Sparks
inevitably flew and ideas were transplanted when they met
each other and witnessed the results of their work, both at
their employers’ premises and at the regular
prize-orientated international exhibitions of the period.
The result was an outpouring of designs of all types, the
evolution of which is explored in this talk.
1995. Cast Karolina sculpture. Designed:
Bertil Vallien for Boda, Sweden.
Andy examines the factors behind the emergence of
Scandinavian glassmaking and the designs that resulted from
it. This talk is based on knowledge gained from his recent
tour of the area’s leading glassworks, including Orrefors
and Kosta in Sweden; Holmegaard, Denmark; and Riihimäki,
Iittala and Nuutajärvi, Finland.
Left: 1965. Two People decanters. Designed: Erik
Höglund for Boda, Sweden.
Right: 1955. Raffia-coiled aquamarine decanter &
glass. Designed: Jacob Bang for Kastrup,