Retro Glass - Scandinavian > Iittala/Riihimaki Riihimaen/Lasi Oy Glass > 1969 Riihimaki/Riihimaen (Finland) 'Apollo' Lamp designed by Tamara Aladin
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1969 Riihimaki/Riihimaen (Finland) 'Apollo' Lamp designed by Tamara Aladin
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Retro Glass - Scandinavian : Iittala/Riihimaki Riihimaen/Lasi Oy Glass : 1969 Riihimaki/Riihimaen (Finland) 'Apollo' Lamp designed by Tamara Aladin
1969 Riihimaki/Riihimaen (Finland) 'Apollo' Lamp designed by Tamara Aladin - RIIHI-TA-APOLLO      
£75.00

Dating from 1969 and inspired by the moon landings here is a simply wonderful 'Apollo' lamp/tealight holder designed by Tamara Aladin for the Riihimaki Riihimaen Lasi glassworks in Finland.  It consists of two separate pieces - a clear glass base and a red glass shade.  It's brilliant! 

SIZE:  Height  10.25in/25.5cm   Weight  1090g

CONDITION:  Really nice, clean and original - no chips, cracks or fleabites.


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See also:
Holmegaard/Kastrup Glass
Aseda/Flygsfors/Kosta Boda/Orrefors/Pukeberg Glass
Other Scandinavian Glass

Retro Glass - Scandinavian
This section concentrates on bringing you a selection of iconic, retro/vintage glass from Riihimaki, Riihimaen Lasi Oy, Iittala and Nuutajarvi (Finland) and where possible include work designed by Helena, Tynell, Nanny Still, Tamara Aladin, Verner Panton, Otto Brauer, Per Lutken, Jacob Bang, Michael Bang, Piet Hein, Tapio Wirkkala, Timo Sarpaneva, Kaj Franck, Sven Palmqvist, Vicke Lindstrand, Nils Landberg, Erik Hogland, Paul Kedelv and Erkitapio Siiroinen amongst others.

The Scandinavian glass manufacturers of the post 1950 period are famous for their use of innovative design and their stand against the increasing trend towards ‘throwawayism’. They employed revolutionary and forward thinking designers - some of whom took advantage of the brilliant reflective qualities of glass by producing thick-walled, organic forms with surface textures like ice, frost and bark - inspired by the landscape and now considered trademark Scandinavian design. With other Scandinavian glass designers at the same time producing obversely pared down designs with fine smooth surfaces, cool colours and simple shapes – the key to their designs being simplicity, practicality and functionality. Art and function being equally important.

The major glass designers of this period were prolific and incestuous – moving between the different manufacturers, working with each other and with the manufacturers themselves merging and taking each other over. Many of the designers didn’t restrict themselves artistically and successfully combined the different disciplines of poetry, geometry, graphic design, mathematics, art, sculpting, woodcarving, glassmaking, ceramics, cast iron work and even banknote design. They felt able to express their creativity freely and were generally given tremendous support by their employers resulting in their innovative artistry helping their companies to periods of glory and international recognition.
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Iittala/Riihimaki Riihimaen/Lasi Oy Glass

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