{"title":"Ceramics","description":"","products":[{"product_id":"wedgwood-white-jasperware-miniature-planter-c-1930s-1950s","title":"Wedgwood White Jasperware Miniature Planter (c. 1930s–1950s)","description":"\u003ch3 data-start=\"1964\" data-end=\"1979\"\u003eThe Piece\u003c\/h3\u003e\n\u003cp data-start=\"1980\" data-end=\"2345\"\u003eA refined Wedgwood jasperware miniature planter or cachepot, dating to approximately the 1930s–1950s, rendered in classic white-on-white with applied floral garland relief. Modest in scale but rich in detail, the piece exemplifies Wedgwood’s mastery of form, restraint, and surface texture—an object designed to elevate everyday interiors rather than dominate them.\u003c\/p\u003e\n\u003ch3 data-start=\"2347\" data-end=\"2374\"\u003eDesign \u0026amp; Construction\u003c\/h3\u003e\n\u003cp data-start=\"2375\" data-end=\"2610\"\u003eWedgwood Jasperware Cachepot\u003cbr data-start=\"2403\" data-end=\"2406\"\u003e→ Maker: Wedgwood\u003cbr data-start=\"2423\" data-end=\"2426\"\u003e→ Date: c. 1930s–1950s\u003cbr data-start=\"2448\" data-end=\"2451\"\u003e→ Material: Jasperware (unglazed stoneware)\u003cbr data-start=\"2494\" data-end=\"2497\"\u003e→ Color: White\u003cbr data-start=\"2511\" data-end=\"2514\"\u003e→ Decoration: Applied floral relief garland\u003cbr data-start=\"2557\" data-end=\"2560\"\u003e→ Base: Molded foot with impressed Wedgwood mark\u003c\/p\u003e\n\u003cp data-start=\"2612\" data-end=\"2747\"\u003eThe matte jasper body offers a soft, sculptural surface, allowing the raised floral motif to catch light subtly rather than reflect it.\u003c\/p\u003e\n\u003ch3 data-start=\"2749\" data-end=\"2764\"\u003eCondition\u003c\/h3\u003e\n\u003cp data-start=\"2765\" data-end=\"3020\"\u003eVery good vintage condition. No chips or cracks observed. Light surface wear and fine age-related fissuring consistent with jasperware and period use. Base bears the original impressed Wedgwood mark; felt pads have been added later for surface protection.\u003c\/p\u003e\n\u003ch3 data-start=\"3022\" data-end=\"3055\"\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp data-start=\"3056\" data-end=\"3365\"\u003eBecause good design doesn’t need color to be interesting. This piece works as a planter for small succulents, a vessel for brushes or utensils, or as a standalone sculptural accent layered into shelving or tabletop arrangements. It brings quiet authority—the kind that signals taste without announcing itself.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42830588313705,"sku":"VE-0413","price":76.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/F2308A85-F02E-43E2-9D02-6904F5EE88AA_1_105_c.jpg?v=1768895429"},{"product_id":"antique-german-relief-molded-ceramic-pitcher-c-1900-1920","title":"Antique German Relief-Molded Ceramic Pitcher, c. 1900–1920","description":"\u003ch3 data-start=\"1100\" data-end=\"1113\"\u003eThe Piece\u003c\/h3\u003e\n\u003cp data-start=\"1114\" data-end=\"1255\"\u003ePeriod ceramic pitcher.\u003cbr data-start=\"1137\" data-end=\"1140\"\u003eGerman maker, unidentified.\u003cbr data-start=\"1167\" data-end=\"1170\"\u003eRelief-molded earthenware with crackle glaze.\u003cbr data-start=\"1215\" data-end=\"1218\"\u003eBlue underglaze maker’s mark on base.\u003c\/p\u003e\n\u003cp data-start=\"1257\" data-end=\"1612\"\u003e\u003cstrong data-start=\"1257\" data-end=\"1280\"\u003ePrimary Description\u003c\/strong\u003e\u003cbr data-start=\"1280\" data-end=\"1283\"\u003eThis pitcher is formed from molded earthenware with continuous relief decoration wrapping the body. The upper register depicts pastoral figures in period dress engaged in rural activity, rendered in raised, hand-tinted glazes over a crackled ground. The handle and rim are integrated into the mold rather than applied separately.\u003c\/p\u003e\n\u003cp data-start=\"1614\" data-end=\"1864\"\u003eThe lower body transitions into a bulbous base encircled by molded portrait medallions framed with floral motifs. The glaze palette is restrained but varied, with matte and glossy passages emphasizing depth and texture rather than surface perfection.\u003c\/p\u003e\n\u003chr data-start=\"1866\" data-end=\"1869\"\u003e\n\u003ch3 data-start=\"1871\" data-end=\"1893\"\u003eHistorical Context\u003c\/h3\u003e\n\u003cp data-start=\"1894\" data-end=\"2261\"\u003eRelief-molded ceramic wares of this type were widely produced in Germany in the late 19th and early 20th centuries for export to Britain and the United States. These objects reflected a romanticized view of rural life at a time of rapid industrialization, serving as domestic table or display pieces that signaled nostalgia and cultural continuity rather than luxury.\u003c\/p\u003e\n\u003cp data-start=\"2263\" data-end=\"2524\"\u003eSuch pitchers were often purchased as decorative objects rather than functional vessels, valued for their narrative surfaces and tactile presence. They occupy a space between folk tradition and industrial production, intentionally accessible but visually dense.\u003c\/p\u003e\n\u003chr data-start=\"2526\" data-end=\"2529\"\u003e\n\u003ch3 data-start=\"2531\" data-end=\"2577\"\u003eProduct Details \/ Materials \u0026amp; Presentation\u003c\/h3\u003e\n\u003cp data-start=\"2578\" data-end=\"2812\"\u003e→ \u003cstrong data-start=\"2580\" data-end=\"2591\"\u003eMedium:\u003c\/strong\u003e Glazed earthenware\u003cbr data-start=\"2610\" data-end=\"2613\"\u003e→ \u003cstrong data-start=\"2615\" data-end=\"2632\"\u003eConstruction:\u003c\/strong\u003e Multi-part mold with integrated handle and spout\u003cbr data-start=\"2681\" data-end=\"2684\"\u003e→ \u003cstrong data-start=\"2686\" data-end=\"2699\"\u003eMarkings:\u003c\/strong\u003e Blue underglaze maker’s mark on base (partially worn)\u003cbr data-start=\"2753\" data-end=\"2756\"\u003e→ \u003cstrong data-start=\"2758\" data-end=\"2769\"\u003eFinish:\u003c\/strong\u003e Crackle glaze with hand-applied coloration\u003c\/p\u003e\n\u003chr data-start=\"2814\" data-end=\"2817\"\u003e\n\u003ch3 data-start=\"2819\" data-end=\"2842\"\u003eCondition + Updates\u003c\/h3\u003e\n\u003cp data-start=\"2843\" data-end=\"3070\"\u003eOverall condition is stable and intact.\u003cbr data-start=\"2882\" data-end=\"2885\"\u003eCrackle glaze is present throughout and consistent with age.\u003cbr data-start=\"2945\" data-end=\"2948\"\u003eMinor surface wear and glaze pooling visible in recessed areas.\u003cbr data-start=\"3011\" data-end=\"3014\"\u003eNo structural cracks, repairs, or restorations observed.\u003c\/p\u003e\n\u003chr data-start=\"3072\" data-end=\"3075\"\u003e\n\u003ch3 data-start=\"3077\" data-end=\"3108\"\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp data-start=\"3109\" data-end=\"3475\"\u003eThe scale and visual density make this piece suited to shelving, sideboards, or open cabinets where surface detail can be appreciated at close range. Its palette works comfortably with wood, stone, and neutral interiors, and its form reads as sculptural even when not grouped with other objects. This is a piece that holds attention quietly rather than demanding it.\u003c\/p\u003e\n\u003chr data-start=\"3477\" data-end=\"3480\"\u003e\n\u003ch3 data-start=\"3482\" data-end=\"3509\"\u003eFrom Viridian Eclection\u003c\/h3\u003e\n\u003cp data-start=\"3510\" data-end=\"3747\"\u003eViridian Eclection collects objects shaped by use, production, and restraint. Each piece is selected for material integrity and historical clarity, not novelty. We favor objects that sit comfortably in time rather than chasing relevance.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42853877579881,"sku":"VE-0457","price":140.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/2F1FED14-1396-4A31-97C8-EC6C7C6F419F_1_201_a.jpg?v=1769478022"},{"product_id":"antique-english-apothecary-sage-jar-with-lid-waymans-c-1890-1910","title":"Antique English Apothecary Sage Jar with Lid, Waymans, c. 1890–1910","description":"\u003ch3 data-start=\"1072\" data-end=\"1085\"\u003eThe Piece\u003c\/h3\u003e\n\u003cp data-start=\"1086\" data-end=\"1224\"\u003eLate 19th–early 20th century apothecary jar with lid.\u003cbr data-start=\"1139\" data-end=\"1142\"\u003eWaymans, England.\u003cbr data-start=\"1159\" data-end=\"1162\"\u003eGlazed ceramic with printed label.\u003cbr data-start=\"1196\" data-end=\"1199\"\u003eMarked “Made in England.”\u003c\/p\u003e\n\u003cp data-start=\"1086\" data-end=\"1224\"\u003e\u003cmeta charset=\"utf-8\"\u003eComparable late 19th-century English apothecary jars with transfer-printed labels and retailer addresses appear in British museum collections focused on pharmacy and medical history, including documented Victorian chemist shop wares.\u003c\/p\u003e\n\u003chr data-start=\"1226\" data-end=\"1229\"\u003e\n\u003ch3 data-start=\"1231\" data-end=\"1254\"\u003ePrimary Description\u003c\/h3\u003e\n\u003cp data-start=\"1255\" data-end=\"1510\"\u003eThis cylindrical apothecary jar is formed in white glazed ceramic and fitted with a matching domed lid. The front bears a black printed label identifying the contents as \u003cem data-start=\"1425\" data-end=\"1431\"\u003eSage\u003c\/em\u003e, framed by ornamental borders and commercial insignia associated with Waymans.\u003c\/p\u003e\n\u003cp data-start=\"1512\" data-end=\"1759\"\u003eThe jar’s proportions are upright and compact, designed for shelf storage and repeated handling. The glaze is smooth and evenly applied, with crisp label printing that remains legible. The lid seats cleanly, indicating it is original to the piece.\u003c\/p\u003e\n\u003chr data-start=\"1761\" data-end=\"1764\"\u003e\n\u003ch3 data-start=\"1766\" data-end=\"1788\"\u003eHistorical Context\u003c\/h3\u003e\n\u003cp data-start=\"1789\" data-end=\"2064\"\u003eBefore standardized packaging and mass-produced glass containers, British chemists relied on ceramic storage jars to house dried herbs, powders, and compounds. These jars served both functional and visual purposes, communicating trust, cleanliness, and order within the shop.\u003c\/p\u003e\n\u003cp data-start=\"2066\" data-end=\"2371\"\u003eRetail-branded examples such as this one were used behind the counter or on open shelving, reinforcing the chemist’s identity while organizing medicinal stock. Sage was a commonly stocked herb, valued for both culinary and medicinal use, making this jar a practical component of daily pharmacy operations.\u003c\/p\u003e\n\u003cp data-start=\"2373\" data-end=\"2531\"\u003eComparable jars appear in British museum collections focused on medical and pharmaceutical history, including holdings related to Victorian-era chemist shops.\u003c\/p\u003e\n\u003chr data-start=\"2533\" data-end=\"2536\"\u003e\n\u003ch3 data-start=\"2538\" data-end=\"2584\"\u003eProduct Details \/ Materials \u0026amp; Presentation\u003c\/h3\u003e\n\u003cp data-start=\"2585\" data-end=\"2814\"\u003e→ \u003cstrong data-start=\"2587\" data-end=\"2598\"\u003eMedium:\u003c\/strong\u003e Glazed ceramic (ironstone-type body)\u003cbr data-start=\"2635\" data-end=\"2638\"\u003e→ \u003cstrong data-start=\"2640\" data-end=\"2657\"\u003eConstruction:\u003c\/strong\u003e Thrown or molded body with fitted ceramic lid\u003cbr data-start=\"2703\" data-end=\"2706\"\u003e→ \u003cstrong data-start=\"2708\" data-end=\"2721\"\u003eMarkings:\u003c\/strong\u003e Waymans branding; “Made in England”\u003cbr data-start=\"2757\" data-end=\"2760\"\u003e→ \u003cstrong data-start=\"2762\" data-end=\"2772\"\u003eLabel:\u003c\/strong\u003e Black printed apothecary-style typography\u003c\/p\u003e\n\u003chr data-start=\"2816\" data-end=\"2819\"\u003e\n\u003ch3 data-start=\"2821\" data-end=\"2844\"\u003eCondition + Updates\u003c\/h3\u003e\n\u003cp data-start=\"2845\" data-end=\"3077\"\u003eOverall condition is very good for its age.\u003cbr data-start=\"2888\" data-end=\"2891\"\u003eNo cracks or repairs observed.\u003cbr data-start=\"2921\" data-end=\"2924\"\u003eMinor surface wear and glaze variation consistent with age and use.\u003cbr data-start=\"2991\" data-end=\"2994\"\u003ePrinted label remains sharp with minimal loss.\u003cbr data-start=\"3040\" data-end=\"3043\"\u003eLid is original and fits securely.\u003c\/p\u003e\n\u003ch3 data-start=\"238\" data-end=\"268\"\u003eTypographic \u0026amp; Graphic Cues\u003c\/h3\u003e\n\u003cul data-start=\"269\" data-end=\"867\"\u003e\n\u003cli data-start=\"269\" data-end=\"480\"\u003e\n\u003cp data-start=\"271\" data-end=\"480\"\u003eThe \u003cstrong data-start=\"275\" data-end=\"307\"\u003eblack transfer-printed label\u003c\/strong\u003e uses a \u003cstrong data-start=\"315\" data-end=\"365\"\u003eVictorian display serif mixed with blackletter\u003c\/strong\u003e for the address line (\u003cem data-start=\"388\" data-end=\"408\"\u003e“Redcliffe Street”\u003c\/em\u003e), a combination common in British commercial ceramics \u003cstrong data-start=\"463\" data-end=\"479\"\u003ec. 1880–1910\u003c\/strong\u003e.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"481\" data-end=\"651\"\u003e\n\u003cp data-start=\"483\" data-end=\"651\"\u003eThe \u003cstrong data-start=\"487\" data-end=\"517\"\u003erope-and-cartouche borders\u003c\/strong\u003e, paired with symmetrical floral devices, align with late Victorian apothecary label conventions rather than Edwardian simplification.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"652\" data-end=\"867\"\u003e\n\u003cp data-start=\"654\" data-end=\"867\"\u003eThe word \u003cstrong data-start=\"663\" data-end=\"676\"\u003e“GENUINE”\u003c\/strong\u003e framed by ornamental dots and scrollwork was a common trust-signaling device used by chemists and druggists in the late 19th century, before regulatory standardization reduced such language.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"869\" data-end=\"898\"\u003eAddress \u0026amp; Retail Branding\u003c\/h3\u003e\n\u003cul data-start=\"899\" data-end=\"1229\"\u003e\n\u003cli data-start=\"899\" data-end=\"1053\"\u003e\n\u003cp data-start=\"901\" data-end=\"1053\"\u003eThe inclusion of a \u003cstrong data-start=\"920\" data-end=\"971\"\u003especific street address (“60 Redcliffe Street”)\u003c\/strong\u003e strongly indicates a \u003cstrong data-start=\"993\" data-end=\"1023\"\u003eretail chemist or supplier\u003c\/strong\u003e, not a generic pottery blank.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1054\" data-end=\"1229\"\u003e\n\u003cp data-start=\"1056\" data-end=\"1229\"\u003eBritish apothecary jars with full retail addresses are most frequently documented \u003cstrong data-start=\"1138\" data-end=\"1150\"\u003epre-1914\u003c\/strong\u003e, before WWI disrupted small-scale retail supply chains and ceramic production.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"1231\" data-end=\"1266\"\u003eManufacturing \u0026amp; Marking Context\u003c\/h3\u003e\n\u003cul data-start=\"1267\" data-end=\"1638\"\u003e\n\u003cli data-start=\"1267\" data-end=\"1477\"\u003e\n\u003cp data-start=\"1269\" data-end=\"1477\"\u003eThe phrase \u003cstrong data-start=\"1280\" data-end=\"1301\"\u003e“MADE IN ENGLAND”\u003c\/strong\u003e appears without a registry mark or factory stamp, consistent with \u003cstrong data-start=\"1368\" data-end=\"1404\"\u003eexport or retailer-branded wares\u003c\/strong\u003e produced for the domestic market rather than hotel or institutional use.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1478\" data-end=\"1638\"\u003e\n\u003cp data-start=\"1480\" data-end=\"1638\"\u003eThe ceramic body and glaze are consistent with \u003cstrong data-start=\"1527\" data-end=\"1565\"\u003eironstone or vitrified earthenware\u003c\/strong\u003e commonly used for apothecary storage prior to widespread glass adoption.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"3706\" data-end=\"3737\"\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp data-start=\"3738\" data-end=\"3994\"\u003eThis jar works well on open shelving, within a vitrine, or grouped with other apothecary objects where material consistency and typography matter. Its neutral palette allows it to integrate into both antique and contemporary interiors without visual noise.\u003c\/p\u003e\n\u003chr data-start=\"3996\" data-end=\"3999\"\u003e\n\u003ch3 data-start=\"4001\" data-end=\"4028\"\u003eFrom Viridian Eclection\u003c\/h3\u003e\n\u003cp data-start=\"4029\" data-end=\"4225\"\u003eViridian Eclection curates objects that reflect how work, care, and commerce were once organized materially. Apothecary jars like this one survive because they were made to be used, not displayed.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42854266798185,"sku":"VE-0462","price":123.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_1556.jpg?v=1769483407"},{"product_id":"vintage-italian-ceramic-shoe-figurine-paul-s-gift-hand-painted-decor","title":"Vintage Italian Ceramic Shoe Figurine | Paul’s Gift Hand-Painted Decor","description":"\u003ch2 data-start=\"670\" data-end=\"684\"\u003eThe Piece\u003c\/h2\u003e\n\u003cp data-start=\"685\" data-end=\"987\"\u003eA charming and slightly whimsical vintage ceramic shoe figurine, hand-painted and made in Italy, marked \u003cem data-start=\"789\" data-end=\"802\"\u003ePaul’s Gift\u003c\/em\u003e on the underside. Modeled in a traditional heeled shoe form and finished with sculpted floral appliqués, this piece balances folk-like ornament with mid-century decorative sensibility.\u003c\/p\u003e\n\u003cp data-start=\"989\" data-end=\"1260\"\u003eThe surface shows soft glaze variation and hand-painted detailing, while the applied roses add dimension and texture. Equal parts decorative object and conversation piece, it reflects the playful domestic ceramics produced in Italy for export during the mid-20th century.\u003c\/p\u003e\n\u003cp data-start=\"1262\" data-end=\"1336\"\u003e\u003cem data-start=\"1262\" data-end=\"1336\"\u003eDisplay stand shown in photos is for presentation only and not included.\u003c\/em\u003e\u003c\/p\u003e\n\u003chr data-start=\"1338\" data-end=\"1341\"\u003e\n\u003ch2 data-start=\"1343\" data-end=\"1366\"\u003eHistorical Context\u003c\/h2\u003e\n\u003cp data-start=\"1367\" data-end=\"1695\"\u003eDuring the mid-20th century, Italy produced a wide range of hand-painted ceramic decorative objects for international markets, particularly the United States. These pieces were often sold through gift shops and specialty retailers, blending traditional craftsmanship with lighthearted forms designed to appeal to postwar tastes.\u003c\/p\u003e\n\u003cp data-start=\"1697\" data-end=\"2009\"\u003eCeramic shoes became popular novelty objects during this period, symbolizing domestic charm and ornamental display rather than function. Markings such as \u003cem data-start=\"1851\" data-end=\"1866\"\u003eMade in Italy\u003c\/em\u003e and distributor names like \u003cem data-start=\"1894\" data-end=\"1907\"\u003ePaul’s Gift\u003c\/em\u003e are typical of export-era production, emphasizing handwork while remaining accessible and decorative.\u003c\/p\u003e\n\u003chr data-start=\"2011\" data-end=\"2014\"\u003e\n\u003ch2 data-start=\"2016\" data-end=\"2036\"\u003eProduct Details\u003c\/h2\u003e\n\u003cdiv class=\"TyagGW_tableContainer\"\u003e\n\u003cdiv class=\"group TyagGW_tableWrapper flex flex-col-reverse w-fit\" tabindex=\"-1\"\u003e\n\u003ctable data-start=\"2038\" data-end=\"2478\" class=\"w-fit min-w-(--thread-content-width)\"\u003e\n\u003cthead data-start=\"2038\" data-end=\"2065\"\u003e\n\u003ctr data-start=\"2038\" data-end=\"2065\"\u003e\n\u003cth data-start=\"2038\" data-end=\"2050\" data-col-size=\"sm\" class=\"\"\u003eAttribute\u003c\/th\u003e\n\u003cth data-start=\"2050\" data-end=\"2065\" data-col-size=\"md\" class=\"\"\u003eDescription\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody data-start=\"2076\" data-end=\"2478\"\u003e\n\u003ctr data-start=\"2076\" data-end=\"2094\"\u003e\n\u003ctd data-start=\"2076\" data-end=\"2085\" data-col-size=\"sm\"\u003eOrigin\u003c\/td\u003e\n\u003ctd data-start=\"2085\" data-end=\"2094\" data-col-size=\"md\"\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2095\" data-end=\"2123\"\u003e\n\u003ctd data-start=\"2095\" data-end=\"2102\" data-col-size=\"sm\"\u003eDate\u003c\/td\u003e\n\u003ctd data-start=\"2102\" data-end=\"2123\" data-col-size=\"md\"\u003eCirca 1950s–1970s\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2124\" data-end=\"2159\"\u003e\n\u003ctd data-start=\"2124\" data-end=\"2135\" data-col-size=\"sm\"\u003eMaterial\u003c\/td\u003e\n\u003ctd data-start=\"2135\" data-end=\"2159\" data-col-size=\"md\"\u003eHand-painted ceramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2160\" data-end=\"2218\"\u003e\n\u003ctd data-start=\"2160\" data-end=\"2173\" data-col-size=\"sm\"\u003eDecoration\u003c\/td\u003e\n\u003ctd data-start=\"2173\" data-end=\"2218\" data-col-size=\"md\"\u003eFloral motifs with applied sculpted roses\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2219\" data-end=\"2283\"\u003e\n\u003ctd data-start=\"2219\" data-end=\"2238\" data-col-size=\"sm\"\u003eMaker \/ Markings\u003c\/td\u003e\n\u003ctd data-start=\"2238\" data-end=\"2283\" data-col-size=\"md\"\u003eHand-marked “Made in Italy \/ Paul’s Gift”\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2284\" data-end=\"2339\"\u003e\n\u003ctd data-start=\"2284\" data-end=\"2293\" data-col-size=\"sm\"\u003eFinish\u003c\/td\u003e\n\u003ctd data-start=\"2293\" data-end=\"2339\" data-col-size=\"md\"\u003eSoft glazed surface with natural variation\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2340\" data-end=\"2383\"\u003e\n\u003ctd data-start=\"2340\" data-end=\"2352\" data-col-size=\"sm\"\u003eCondition\u003c\/td\u003e\n\u003ctd data-start=\"2352\" data-end=\"2383\" data-col-size=\"md\"\u003eVery good vintage condition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2384\" data-end=\"2439\"\u003e\n\u003ctd data-start=\"2384\" data-end=\"2397\" data-col-size=\"sm\"\u003eDimensions\u003c\/td\u003e\n\u003ctd data-start=\"2397\" data-end=\"2439\" data-col-size=\"md\"\u003eDecorative tabletop scale (see photos)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"2440\" data-end=\"2478\"\u003e\n\u003ctd data-start=\"2440\" data-end=\"2448\" data-col-size=\"sm\"\u003eNotes\u003c\/td\u003e\n\u003ctd data-start=\"2448\" data-end=\"2478\" data-col-size=\"md\"\u003eDisplay stand not included\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003chr data-start=\"2480\" data-end=\"2483\"\u003e\n\u003ch2 data-start=\"2485\" data-end=\"2507\"\u003eCondition + Notes\u003c\/h2\u003e\n\u003cp data-start=\"2508\" data-end=\"2753\"\u003eThe figurine shows light surface wear consistent with age, including subtle glaze variation and minor rubbing to raised floral elements. No cracks, chips, or repairs observed. The underside retains original handwritten markings, clearly legible.\u003c\/p\u003e\n\u003chr data-start=\"2755\" data-end=\"2758\"\u003e\n\u003ch2 data-start=\"2760\" data-end=\"2792\"\u003eWhy It Belongs in Your Home\u003c\/h2\u003e\n\u003cp data-start=\"2793\" data-end=\"3084\"\u003eThis piece lives comfortably at the edge of charm and restraint. Styled alone, it feels playful; layered with darker woods, ceramics, or brass, it becomes quietly ironic and intentional. It works best as an accent—on a shelf, vanity, or side table—where it can surprise without overpowering.\u003c\/p\u003e\n\u003cp data-start=\"3086\" data-end=\"3183\"\u003eIt’s the kind of object that invites a second look and a small smile. Which is usually the point.\u003c\/p\u003e\n\u003chr data-start=\"3185\" data-end=\"3188\"\u003e\n\u003ch2 data-start=\"3190\" data-end=\"3218\"\u003eFrom Viridian Eclection\u003c\/h2\u003e\n\u003cp data-start=\"3219\" data-end=\"3434\"\u003eViridian Eclection curates objects that carry personality without pretense—pieces shaped by hand, taste, and time. This Italian ceramic shoe embodies that balance: decorative, expressive, and unapologetically human.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42893539508329,"sku":"VE-0527","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/75212FE7-2895-4A2C-9F98-9F8C2CE8EEBA_1_201_a.jpg?v=1770552311"},{"product_id":"antique-gibsons-england-gilt-decorated-black-teapot-c-1930s","title":"Antique Gibsons England Gilt-Decorated Black Teapot, c. 1930s","description":"\u003ch3 data-start=\"274\" data-end=\"291\"\u003e\u003cstrong data-start=\"278\" data-end=\"291\"\u003eThe Piece\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"292\" data-end=\"676\"\u003eA striking black-glazed teapot produced by \u003cstrong data-start=\"335\" data-end=\"376\"\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eGibsons\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e in England, featuring an ornate gilt and enamel decorative band inspired by late Art Deco and Aesthetic Movement design. The pattern wraps the body in stylized geometric and floral motifs, accented with turquoise, ivory, and amber enamel details that sit beautifully against the glossy black ground.\u003c\/p\u003e\n\u003cp data-start=\"678\" data-end=\"878\"\u003eThe form is classic and well-balanced, with a rounded body, pronounced spout, and integrated handle. The lid fits cleanly and retains its original knob, completing the silhouette without interruption.\u003c\/p\u003e\n\u003ch3 data-start=\"880\" data-end=\"906\"\u003e\u003cstrong data-start=\"884\" data-end=\"906\"\u003eHistorical Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"907\" data-end=\"1264\"\u003eGibsons was active in the early 20th century producing decorative English earthenware intended for both domestic use and visual display. During the interwar period, many British potteries embraced bold surface decoration—often combining traditional forms with more adventurous patterning influenced by Art Deco, Moorish Revival, and Aesthetic design trends.\u003c\/p\u003e\n\u003cp data-start=\"1266\" data-end=\"1397\"\u003eThis teapot reflects that moment precisely: familiar in form, but expressive in surface, designed to stand out on a table or shelf.\u003c\/p\u003e\n\u003ch3 data-start=\"1399\" data-end=\"1422\"\u003e\u003cstrong data-start=\"1403\" data-end=\"1422\"\u003eProduct Details\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cdiv class=\"TyagGW_tableContainer\"\u003e\n\u003cdiv class=\"group TyagGW_tableWrapper flex flex-col-reverse w-fit\" tabindex=\"-1\"\u003e\n\u003ctable data-start=\"1424\" data-end=\"1819\" class=\"w-fit min-w-(--thread-content-width)\"\u003e\n\u003cthead data-start=\"1424\" data-end=\"1451\"\u003e\n\u003ctr data-start=\"1424\" data-end=\"1451\"\u003e\n\u003cth data-start=\"1424\" data-end=\"1436\" data-col-size=\"sm\" class=\"\"\u003eAttribute\u003c\/th\u003e\n\u003cth data-start=\"1436\" data-end=\"1451\" data-col-size=\"md\" class=\"\"\u003eDescription\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody data-start=\"1476\" data-end=\"1819\"\u003e\n\u003ctr data-start=\"1476\" data-end=\"1495\"\u003e\n\u003ctd data-start=\"1476\" data-end=\"1484\" data-col-size=\"sm\"\u003eMaker\u003c\/td\u003e\n\u003ctd data-start=\"1484\" data-end=\"1495\" data-col-size=\"md\"\u003eGibsons\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1496\" data-end=\"1516\"\u003e\n\u003ctd data-start=\"1496\" data-end=\"1505\" data-col-size=\"sm\"\u003eOrigin\u003c\/td\u003e\n\u003ctd data-start=\"1505\" data-end=\"1516\" data-col-size=\"md\"\u003eEngland\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1517\" data-end=\"1542\"\u003e\n\u003ctd data-start=\"1517\" data-end=\"1524\" data-col-size=\"sm\"\u003eDate\u003c\/td\u003e\n\u003ctd data-start=\"1524\" data-end=\"1542\" data-col-size=\"md\"\u003ec. 1920s–1930s\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1543\" data-end=\"1576\"\u003e\n\u003ctd data-start=\"1543\" data-end=\"1554\" data-col-size=\"sm\"\u003eMaterial\u003c\/td\u003e\n\u003ctd data-start=\"1554\" data-end=\"1576\" data-col-size=\"md\"\u003eGlazed earthenware\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1577\" data-end=\"1632\"\u003e\n\u003ctd data-start=\"1577\" data-end=\"1585\" data-col-size=\"sm\"\u003eColor\u003c\/td\u003e\n\u003ctd data-start=\"1585\" data-end=\"1632\" data-col-size=\"md\"\u003eGloss black with gilt and enamel decoration\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1633\" data-end=\"1659\"\u003e\n\u003ctd data-start=\"1633\" data-end=\"1640\" data-col-size=\"sm\"\u003eForm\u003c\/td\u003e\n\u003ctd data-start=\"1640\" data-end=\"1659\" data-col-size=\"md\"\u003eTeapot with lid\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1660\" data-end=\"1727\"\u003e\n\u003ctd data-start=\"1660\" data-end=\"1673\" data-col-size=\"sm\"\u003eDecoration\u003c\/td\u003e\n\u003ctd data-start=\"1673\" data-end=\"1727\" data-col-size=\"md\"\u003eGilt geometric and floral band with enamel accents\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1728\" data-end=\"1775\"\u003e\n\u003ctd data-start=\"1728\" data-end=\"1739\" data-col-size=\"sm\"\u003eMarkings\u003c\/td\u003e\n\u003ctd data-start=\"1739\" data-end=\"1775\" data-col-size=\"md\"\u003e“Gibsons England” impressed mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-start=\"1776\" data-end=\"1819\"\u003e\n\u003ctd data-start=\"1776\" data-end=\"1788\" data-col-size=\"sm\"\u003eCondition\u003c\/td\u003e\n\u003ctd data-start=\"1788\" data-end=\"1819\" data-col-size=\"md\"\u003eVery good vintage condition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch3 data-start=\"1821\" data-end=\"1844\"\u003e\u003cstrong data-start=\"1825\" data-end=\"1844\"\u003eCondition Notes\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1845\" data-end=\"2092\"\u003eThe teapot presents extremely well. The glaze remains glossy, the gilt decoration is largely intact with minor age-related wear, and no cracks or repairs are visible. Light surface wear is consistent with age. Lid fits properly and spout is clean.\u003c\/p\u003e\n\u003ch3 data-start=\"2094\" data-end=\"2129\"\u003e\u003cstrong data-start=\"2098\" data-end=\"2129\"\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2130\" data-end=\"2483\"\u003eThis is a teapot that earns its keep even when it never pours a drop. Styled on open shelving, a bar cabinet, or a sideboard, it reads as sculptural ceramic with graphic impact. The black-and-gold palette pairs effortlessly with darker interiors, brass accents, and collected objects—bringing contrast, pattern, and a subtle sense of drama to the space.\u003c\/p\u003e\n\u003cp data-start=\"2485\" data-end=\"2541\"\u003eIt’s decorative, but grounded. Expressive, but composed.\u003c\/p\u003e\n\u003chr data-start=\"2543\" data-end=\"2546\"\u003e\n\u003ch3 data-start=\"2548\" data-end=\"2579\"\u003e\u003cstrong data-start=\"2552\" data-end=\"2579\"\u003eFrom Viridian Eclection\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2580\" data-end=\"2913\"\u003eWe’re drawn to pieces that blur the line between functional object and decorative art. This Gibsons teapot does exactly that—pairing a traditional English form with bold, almost theatrical surface design. It’s the kind of object that anchors a vignette and rewards a second look, carrying both history and personality without excess.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42895463383145,"sku":"VE-0532","price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_2718_4d4756c3-b9f5-4c0e-bf10-74655d717b03.jpg?v=1770608678"},{"product_id":"vintage-1970s-russ-berrie-i-love-you-this-much-figurine-big-eyed-ceramic-girl-statue","title":"Vintage 1973 Wallace Berrie “I Like You \/ I Love You This Much” Figurine Pair – Made in USA Sentimental Collectible","description":"\u003ch3\u003eThe Set\u003c\/h3\u003e\n\u003cp\u003eA pair of sentimental figurines produced by Wallace Berrie \u0026amp; Co. in 1973. The two figures form a complete message when displayed together: one shyly admitting \"I Like You,\" the other answering \"I Love You This Much.\"\u003c\/p\u003e\n\u003cp\u003eThey carry the whimsical character design that defined 1970s giftware, with oversized expressive eyes, exaggerated childlike proportions, and soft matte finishes meant to feel approachable rather than formal. The boy figure stands bashfully with a hand to his mouth. The companion figure opens her arms wide, emphasizing the playful exaggeration of the phrase on her base.\u003c\/p\u003e\n\u003cp\u003eBoth are molded resin composite with a matte finish. An original fabric flower embellishment remains on the back of the \"I Like You\" figure.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eWallace Berrie \u0026amp; Co., founded in Los Angeles in 1948, became one of the largest American producers of novelty giftware during the middle of the twentieth century. The company specialized in sentimental figurines, collectible characters and licensed merchandise, and helped define the look of American gift shops through the 1960s and 1970s.\u003c\/p\u003e\n\u003cp\u003eBefore it took on licensed properties such as Garfield and Ziggy, Wallace Berrie built its reputation on original figurines of this kind, playful and emotionally direct pieces designed to work as small keepsakes. Their designs blended cartoon character styling with hand finished decorative detail: painted expressions, molded clothing textures and fabric embellishments.\u003c\/p\u003e\n\u003cp\u003ePieces from the early 1970s such as this pair reflect the move away from earlier chalkware figurines into more durable molded resin and composite materials, which allowed greater detail and larger production runs while keeping the handmade look buyers expected.\u003c\/p\u003e\n\u003cp\u003eThe dating is not a matter of attribution here. The bases are marked \"Made in U.S.A.\" and \"© Wallace Berrie \u0026amp; Co. 1973,\" with mold number 9087.\u003c\/p\u003e\n\u003cp\u003eFigurines like these were sold through card shops and novelty gift retailers and were commonly given as small tokens of affection, particularly at Valentine's Day or an anniversary. Finding the pair still together preserves the intended narrative of the design, a two part story of affection rendered in sculptural form.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1973\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eWallace Berrie \u0026amp; Co., founded Los Angeles, 1948\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eTwo figure sentimental gift set. \"I Like You\" boy figurine and \"I Love You This Much\" companion figurine\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eMolded resin composite with matte finish, with original fabric flower embellishment\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003e\"Made in U.S.A.\" and \"© Wallace Berrie \u0026amp; Co. 1973,\" mold number 9087\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eEach figure approximately 4 to 5 inches high, base width approximately 2 to 2.5 inches\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood vintage condition with light surface wear consistent with age. Minor scuffs and small marks in areas of the matte finish, typical of molded resin of this period. Original fabric flower embellishment on the back of the \"I Like You\" figure intact. No structural damage or repairs visible\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThere is something disarming about objects made simply to make someone smile. This pair captures the playful sincerity of 1970s gift culture, small expressive things meant to communicate affection lightly.\u003c\/p\u003e\n\u003cp\u003eDisplayed together on a shelf, a desk or a bedside table, the figurines work as both period decoration and a quiet reminder of a time when a small keepsake could say everything that needed saying.\u003c\/p\u003e\n\u003cp\u003eFor collectors of vintage giftware, period Valentine decoration, or mid century novelty objects, the complete pair offers historical context alongside its decorative presence. Not every collectible was made for a gallery or a museum. Some were meant to sit on a dresser and make someone feel loved, and the smallest objects often carry the most human stories.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42954848829545,"sku":"VE-0605","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_4222.jpg?v=1772694528"},{"product_id":"1978-pelzman-designer-ceramic-carnival-masks-set-of-three","title":"1978 Pelzman Designer Ceramic Carnival Masks – Set of Three","description":"\u003ch1 data-start=\"941\" data-end=\"954\"\u003eThe Piece\u003c\/h1\u003e\n\u003cp data-start=\"955\" data-end=\"1018\"\u003e\u003cstrong data-start=\"955\" data-end=\"1018\"\u003e1978 Pelzman Designer Ceramic Carnival Masks – Set of Three\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1020\" data-end=\"1233\"\u003eThis striking set of three ceramic masks was created as part of the \u003cstrong data-start=\"1088\" data-end=\"1120\"\u003ePelzman designer mask series\u003c\/strong\u003e, produced in 1978 for Vandor Designs and the San Francisco-based studio \u003cstrong data-start=\"1193\" data-end=\"1232\"\u003eAbout Face – A Division of Clay Art\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"1235\" data-end=\"1535\"\u003eEach mask features a glossy ceramic surface with bold theatrical styling inspired by the tradition of carnival and commedia dell’arte performance masks. Expressive facial features, stylized makeup motifs, and ribbon ties give the masks the dramatic presence associated with masquerade costume design.\u003c\/p\u003e\n\u003cp data-start=\"1537\" data-end=\"1864\"\u003eThe three masks each carry distinct personalities. One features the romantic Pierrot-style face with heart-shaped cheek accents and dramatic eye detailing, while the others incorporate floral motifs and delicate painted elements. Their sculpted ceramic forms are finished with high-gloss glazing and vibrant hand-applied color.\u003c\/p\u003e\n\u003cp data-start=\"1866\" data-end=\"2072\"\u003eInterior labels identify the designer as \u003cstrong data-start=\"1907\" data-end=\"1918\"\u003ePelzman\u003c\/strong\u003e, with markings referencing \u003cstrong data-start=\"1946\" data-end=\"1965\"\u003e1978 production\u003c\/strong\u003e and the \u003cstrong data-start=\"1974\" data-end=\"2023\"\u003eAbout Face Clay Art division in San Francisco\u003c\/strong\u003e, alongside Vandor’s Japanese manufacturing mark.\u003c\/p\u003e\n\u003cp data-start=\"2074\" data-end=\"2229\"\u003eTogether, the set represents a fascinating moment in late-1970s decorative art when theatrical design, ceramics, and pop culture intersected in home décor.\u003c\/p\u003e\n\u003chr data-start=\"2231\" data-end=\"2234\"\u003e\n\u003ch1 data-start=\"2236\" data-end=\"2256\"\u003eHistorical Context\u003c\/h1\u003e\n\u003cp data-start=\"2258\" data-end=\"2556\"\u003eDuring the 1970s, decorative wall masks became a popular art object within both theatrical and contemporary interior design. Inspired by \u003cstrong data-start=\"2395\" data-end=\"2461\"\u003eVenetian carnival traditions and commedia dell’arte characters\u003c\/strong\u003e, designers began producing ceramic and porcelain masks intended specifically for wall display.\u003c\/p\u003e\n\u003cp data-start=\"2558\" data-end=\"2779\"\u003eThe \u003cstrong data-start=\"2562\" data-end=\"2585\"\u003ePelzman mask series\u003c\/strong\u003e, produced for \u003cstrong data-start=\"2600\" data-end=\"2618\"\u003eVandor Designs\u003c\/strong\u003e, reflected this trend. Vandor collaborated with artists and designers to produce collectible décor pieces that blended modern design with theatrical influences.\u003c\/p\u003e\n\u003cp data-start=\"2781\" data-end=\"3017\"\u003eManufacturing often occurred in Japan during this period, where ceramic production was highly refined and cost-effective, while creative direction and design came from American studios such as \u003cstrong data-start=\"2974\" data-end=\"3016\"\u003eAbout Face – Clay Art in San Francisco\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"3019\" data-end=\"3187\"\u003eToday these masks are appreciated as distinctive examples of \u003cstrong data-start=\"3080\" data-end=\"3128\"\u003e1970s theatrical décor and designer ceramics\u003c\/strong\u003e, combining sculptural form with expressive painted detail.\u003c\/p\u003e\n\u003chr data-start=\"3189\" data-end=\"3192\"\u003e\n\u003ch1 data-start=\"3194\" data-end=\"3211\"\u003eProduct Details\u003c\/h1\u003e\n\u003cp data-start=\"3213\" data-end=\"3331\"\u003eType: Decorative ceramic wall masks\u003cbr data-start=\"3248\" data-end=\"3251\"\u003eDesigner: Pelzman\u003cbr data-start=\"3268\" data-end=\"3271\"\u003eProducer: Vandor Designs\u003cbr data-start=\"3295\" data-end=\"3298\"\u003eDivision: About Face – Clay Art\u003c\/p\u003e\n\u003cp data-start=\"3333\" data-end=\"3345\"\u003eDate: 1978\u003c\/p\u003e\n\u003cp data-start=\"3347\" data-end=\"3425\"\u003eManufacture:\u003cbr data-start=\"3359\" data-end=\"3362\"\u003e• Designed in San Francisco, California\u003cbr data-start=\"3401\" data-end=\"3404\"\u003e• Produced in Japan\u003c\/p\u003e\n\u003cp data-start=\"3427\" data-end=\"3525\"\u003eMaterials\u003cbr data-start=\"3436\" data-end=\"3439\"\u003e• Glazed ceramic masks\u003cbr data-start=\"3461\" data-end=\"3464\"\u003e• Hand-painted decorative details\u003cbr data-start=\"3497\" data-end=\"3500\"\u003e• Ribbon ties for hanging\u003c\/p\u003e\n\u003cp data-start=\"3527\" data-end=\"3542\"\u003eDesign Features\u003c\/p\u003e\n\u003cp data-start=\"3544\" data-end=\"3684\"\u003e• Pierrot \/ carnival mask styling\u003cbr data-start=\"3577\" data-end=\"3580\"\u003e• Gloss ceramic finish\u003cbr data-start=\"3602\" data-end=\"3605\"\u003e• Expressive theatrical makeup motifs\u003cbr data-start=\"3642\" data-end=\"3645\"\u003e• Distinct individual character designs\u003c\/p\u003e\n\u003cp data-start=\"3686\" data-end=\"3702\"\u003eApproximate Size\u003c\/p\u003e\n\u003cp data-start=\"3704\" data-end=\"3749\"\u003eHeight: ~7–9 inches each\u003cbr data-start=\"3728\" data-end=\"3731\"\u003eWidth: ~5–6 inches\u003c\/p\u003e\n\u003chr data-start=\"3751\" data-end=\"3754\"\u003e\n\u003ch1 data-start=\"3756\" data-end=\"3767\"\u003eCondition\u003c\/h1\u003e\n\u003cp data-start=\"3769\" data-end=\"3792\"\u003eGood vintage condition.\u003c\/p\u003e\n\u003cp data-start=\"3794\" data-end=\"3930\"\u003e• Minor surface wear consistent with age\u003cbr data-start=\"3834\" data-end=\"3837\"\u003e• Light scuffing on interior surfaces\u003cbr data-start=\"3874\" data-end=\"3877\"\u003e• Original labels present on masks\u003cbr data-start=\"3911\" data-end=\"3914\"\u003e• Ribbons intact\u003c\/p\u003e\n\u003cp data-start=\"3932\" data-end=\"3962\"\u003eNo structural cracks observed.\u003c\/p\u003e\n\u003chr data-start=\"3964\" data-end=\"3967\"\u003e\n\u003ch1 data-start=\"3969\" data-end=\"3998\"\u003eWhy It Belongs in Your Home\u003c\/h1\u003e\n\u003cp data-start=\"4000\" data-end=\"4216\"\u003eLarge decorative masks like these bring sculptural personality to a space. Whether arranged as a gallery grouping or displayed individually, they add a theatrical element that works beautifully in eclectic interiors.\u003c\/p\u003e\n\u003cp data-start=\"4218\" data-end=\"4228\"\u003eIdeal for:\u003c\/p\u003e\n\u003cp data-start=\"4230\" data-end=\"4372\"\u003e• gallery wall displays\u003cbr data-start=\"4253\" data-end=\"4256\"\u003e• theatrical or artistic interiors\u003cbr data-start=\"4290\" data-end=\"4293\"\u003e• collectors of vintage designer décor\u003cbr data-start=\"4331\" data-end=\"4334\"\u003e• fans of Venetian carnival aesthetics\u003c\/p\u003e\n\u003cp data-start=\"4374\" data-end=\"4447\"\u003eDisplayed together, the three masks create a dramatic visual composition.\u003c\/p\u003e\n\u003chr data-start=\"4449\" data-end=\"4452\"\u003e\n\u003ch1 data-start=\"4454\" data-end=\"4479\"\u003eFrom Viridian Eclection\u003c\/h1\u003e\n\u003cp data-start=\"4481\" data-end=\"4711\"\u003eAt \u003cstrong data-start=\"4484\" data-end=\"4506\"\u003eViridian Eclection\u003c\/strong\u003e, we curate objects that sit at the intersection of art, design, and cultural storytelling. Pieces like this capture the spirit of theatrical design and the creativity of late-20th-century decorative arts.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42963594346601,"sku":"VE-0652","price":67.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/1978_pelzman_designer_ceramic_carnival_masks_set_of_three772152813168935022020935785.png?v=1774756658"},{"product_id":"vintage-delft-style-blue-porcelain-bell-1970","title":"Vintage Delft Style Blue Porcelain Bell (c 1970s)","description":"\u003ch1 data-start=\"1102\" data-end=\"1115\"\u003eThe Piece\u003c\/h1\u003e\n\u003cp data-start=\"1116\" data-end=\"1168\"\u003e\u003cstrong data-start=\"1116\" data-end=\"1168\"\u003eDelft Style Blue \u0026amp; White Porcelain Pastoral Bell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1170\" data-end=\"1470\"\u003eThis porcelain bell features a classic Delft-style pastoral scene rendered in cobalt blue against a soft ivory glaze. The illustration wraps around the bell’s body, depicting a quiet winter countryside with a small cottage, leafless trees, a rising moon, and figures moving through a snowy landscape.\u003c\/p\u003e\n\u003cp data-start=\"1472\" data-end=\"1648\"\u003eThe scene captures the tranquil storytelling style long associated with Delftware ceramics, where rural life and seasonal landscapes are illustrated in delicate blue brushwork.\u003c\/p\u003e\n\u003cp data-start=\"1650\" data-end=\"1891\"\u003eThe bell is topped with a slender handle and metal finial, while the interior contains a ceramic clapper that produces a soft, clear ring. Its elegant proportions and detailed landscape make it both a decorative object and a functional bell.\u003c\/p\u003e\n\u003chr data-start=\"1893\" data-end=\"1896\"\u003e\n\u003ch1 data-start=\"1898\" data-end=\"1918\"\u003eHistorical Context\u003c\/h1\u003e\n\u003cp data-start=\"1920\" data-end=\"2205\"\u003eDelftware refers to the tradition of blue-and-white ceramics originating in the Dutch city of \u003cstrong data-start=\"2014\" data-end=\"2047\"\u003eDelft during the 17th century\u003c\/strong\u003e. Inspired by Chinese porcelain imported into Europe, Dutch potters developed their own style using tin-glazed earthenware decorated with cobalt blue imagery.\u003c\/p\u003e\n\u003cp data-start=\"2207\" data-end=\"2330\"\u003ePastoral landscapes became a common decorative motif, depicting rural cottages, winter scenes, windmills, and village life.\u003c\/p\u003e\n\u003cp data-start=\"2332\" data-end=\"2599\"\u003eDuring the mid-20th century, Delft-style ceramics experienced a resurgence in popularity as decorative home pieces and travel souvenirs. Many were produced both in Europe and in Japanese export workshops using traditional Delft color palettes and countryside imagery.\u003c\/p\u003e\n\u003cp data-start=\"2601\" data-end=\"2765\"\u003ePorcelain bells like this became popular collectible pieces during the 1960s–1980s and were often displayed in kitchens, curio cabinets, or cottage-style interiors.\u003c\/p\u003e\n\u003chr data-start=\"2767\" data-end=\"2770\"\u003e\n\u003ch1 data-start=\"2772\" data-end=\"2789\"\u003eProduct Details\u003c\/h1\u003e\n\u003cp data-start=\"2791\" data-end=\"2861\"\u003eType: Decorative porcelain bell\u003cbr data-start=\"2822\" data-end=\"2825\"\u003eStyle: Delft blue \/ blue and white\u003c\/p\u003e\n\u003cp data-start=\"2863\" data-end=\"2937\"\u003eMaterials\u003cbr data-start=\"2872\" data-end=\"2875\"\u003e• Glazed porcelain\u003cbr data-start=\"2893\" data-end=\"2896\"\u003e• Ceramic clapper\u003cbr data-start=\"2913\" data-end=\"2916\"\u003e• Metal finial handle\u003c\/p\u003e\n\u003cp data-start=\"2939\" data-end=\"2949\"\u003eDecoration\u003c\/p\u003e\n\u003cp data-start=\"2951\" data-end=\"3074\"\u003e• Cobalt blue pastoral winter landscape\u003cbr data-start=\"2990\" data-end=\"2993\"\u003e• Cottage and countryside imagery\u003cbr data-start=\"3026\" data-end=\"3029\"\u003e• Hand-painted or transfer-style illustration\u003c\/p\u003e\n\u003cp data-start=\"3076\" data-end=\"3108\"\u003eApproximate Height\u003cbr data-start=\"3094\" data-end=\"3097\"\u003e~5–6 inches\u003c\/p\u003e\n\u003chr data-start=\"3110\" data-end=\"3113\"\u003e\n\u003ch1 data-start=\"3115\" data-end=\"3126\"\u003eCondition\u003c\/h1\u003e\n\u003cp data-start=\"3128\" data-end=\"3151\"\u003eGood vintage condition.\u003c\/p\u003e\n\u003cp data-start=\"3153\" data-end=\"3293\"\u003e• Minor surface wear consistent with age\u003cbr data-start=\"3193\" data-end=\"3196\"\u003e• Light wear to metal finial\u003cbr data-start=\"3224\" data-end=\"3227\"\u003e• No visible cracks in porcelain\u003cbr data-start=\"3259\" data-end=\"3262\"\u003e• Clapper intact and functional\u003c\/p\u003e\n\u003chr data-start=\"3295\" data-end=\"3298\"\u003e\n\u003ch1 data-start=\"3300\" data-end=\"3329\"\u003eWhy It Belongs in Your Home\u003c\/h1\u003e\n\u003cp data-start=\"3331\" data-end=\"3489\"\u003eDelft-style ceramics bring quiet charm to interior spaces. The blue-and-white palette pairs beautifully with cottage, farmhouse, and traditional décor styles.\u003c\/p\u003e\n\u003cp data-start=\"3491\" data-end=\"3516\"\u003eThis bell works well for:\u003c\/p\u003e\n\u003cp data-start=\"3518\" data-end=\"3644\"\u003e• kitchen or dining room displays\u003cbr data-start=\"3551\" data-end=\"3554\"\u003e• cottage-style interiors\u003cbr data-start=\"3579\" data-end=\"3582\"\u003e• porcelain or Delftware collections\u003cbr data-start=\"3618\" data-end=\"3621\"\u003e• seasonal winter décor\u003c\/p\u003e\n\u003cp data-start=\"3646\" data-end=\"3720\"\u003eEven when not rung, it serves as a small piece of decorative storytelling.\u003c\/p\u003e\n\u003chr data-start=\"3722\" data-end=\"3725\"\u003e\n\u003ch1 data-start=\"3727\" data-end=\"3752\"\u003eFrom Viridian Eclection\u003c\/h1\u003e\n\u003cp data-start=\"3754\" data-end=\"3933\"\u003eAt \u003cstrong data-start=\"3757\" data-end=\"3779\"\u003eViridian Eclection\u003c\/strong\u003e, we look for objects that capture everyday beauty. Pieces like this Delft-style bell reflect the quiet artistry found in traditional decorative ceramics.\u003c\/p\u003e\n\u003chr data-start=\"3935\" data-end=\"3938\"\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42966429565033,"sku":"VE-0655","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/vintage_delft_style_blue_porcelain_bell_c_1970s772275129559335024354345065.jpg?v=1774756625"},{"product_id":"vintage-pilkington-england-aztec-calendar-tile-c-1970s","title":"Vintage Pilkington England Aztec Calendar Tile, c. 1970s","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA square ceramic tile with a glossy cream white face carrying a bold black circular design, a graphic interpretation of the Aztec calendar or sun stone motif.\u003c\/p\u003e\n\u003cp\u003eThe drawing is densely detailed and architectural, high in contrast, with the central face and concentric symbolic bands of the original stone rendered in flat black on the glaze.\u003c\/p\u003e\n\u003cp\u003eThe reverse is molded and unglazed, marked PILKINGTON ENGLAND with additional factory reference marks including 23 and D.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePilkington's was one of England's notable ceramic tile manufacturers, with roots reaching back to the late nineteenth century, and is often associated with architectural tilework and decorative ceramics.\u003c\/p\u003e\n\u003cp\u003eThis tile belongs to the later, mid to late twentieth century decorative tile tradition rather than to the firm's architectural work, and is dated c. 1970s. The dating rests on the graphic treatment and the character of the glaze and molded reverse.\u003c\/p\u003e\n\u003cp\u003eThe imagery references the Aztec Sun Stone, often called an Aztec calendar or a Mayan calendar in the decorative arts. Its circular geometry, central face, and dense symbolic patterning made it a popular motif in twentieth century interiors, particularly through the 1960s and 1970s, when archaeological and ethnographic design references became common in the home.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eItem\u003c\/td\u003e\n\u003ctd\u003eDecorative ceramic tile\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003ePilkington\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1970s\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eEngland\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eGlazed ceramic\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eColor\u003c\/td\u003e\n\u003ctd\u003eCream white ground with black design\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDesign\u003c\/td\u003e\n\u003ctd\u003eAztec calendar or sun stone motif\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSquare\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eReverse marked PILKINGTON ENGLAND, with additional factory marks including 23 and D\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eGlossy front, unglazed molded reverse\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eTo be confirmed\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood vintage condition. The front remains visually strong with crisp black and white contrast. Minor surface marks, faint glaze wear, small edge imperfections, and age related discoloration or residue to the reverse. No major cracks are visible in the photographs\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eUse\u003c\/td\u003e\n\u003ctd\u003eShelf styling, wall display, framed tile, tabletop accent, decorative trivet\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThe tile works because it has contrast, texture, and immediate graphic presence. It is small enough to style anywhere and strong enough to anchor a shelf, a bookcase, a console, or a layered vignette.\u003c\/p\u003e\n\u003cp\u003eUse it as a standalone object, frame it as wall art, stand it on a small easel, or lay it flat beneath a candle, a vessel, or a piece of sculpture. On a bookshelf it gives contrast among books and small objects; on a console it layers behind a bowl, a lamp, or a framed work; in a kitchen or bar it can serve as an occasional trivet; on a gallery wall it frames easily among prints and sketches.\u003c\/p\u003e\n\u003cp\u003eThe black and cream palette pairs readily with wood, leather, stone, iron, and linen, which is why it settles so easily into a rustic modern room or a study. It brings a collected, traveled feeling without effort.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43168087605353,"sku":"VE-0867","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/911B3CA1-C490-406C-A81A-EF603465AA69.png?v=1777529377"},{"product_id":"vintage-1980s-cottage-rose-ceramic-multi-photo-frames-set-of-2","title":"Vintage 1980s Cottage Rose Ceramic Multi-Photo Frames, Set of 2","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA sweet set of \u003c\/span\u003e\u003cspan\u003evintage circa 1980s cottage rose multi-photo frames\u003c\/span\u003e\u003cspan\u003e, featuring cream glazed frames with soft pink floral rose accents and a naturally aged crackle finish throughout. The set includes one larger multi-opening frame and one smaller coordinating frame, both designed for tabletop display with black easel backs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe look is romantic, nostalgic, and deeply 1980s in the best possible way: cream ceramic, pink roses, soft curves, and just enough Victorian revival energy to make a guest bedroom feel like someone’s grandmother had excellent stationery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign \u0026amp; Construction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach frame has a glossy cream ceramic or ceramic-style molded body with rounded edges and recessed photo openings. The larger frame includes multiple mixed openings in oval, square, and rectangular shapes, while the smaller frame includes one large oval opening with two smaller rectangular openings below.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth frames are decorated with delicate pink rose floral decals at the corners. The surface shows visible crazing and crackle throughout, giving the pieces an aged, timeworn appearance. This crackling may be part of the original decorative finish or age-related glaze crazing, but either way it adds to the cottage character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe backs are finished in black with easel stands for tabletop display. These are best suited for vanity styling, nursery decor, powder room shelves, bedroom dressers, or a layered gallery-style vignette.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese frames fit beautifully into the \u003c\/span\u003e\u003cspan\u003e1980s cottage revival and romantic Victorian-inspired home decor movement\u003c\/span\u003e\u003cspan\u003e, when cream ceramics, floral decals, crackle finishes, and soft feminine accents were widely used in giftware, vanity decor, and family photo displays.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe style feels very aligned with the era’s love of rose motifs, sentimental family display pieces, and decorative tabletop frames. They are not antique, but they are very much vintage decorative home goods with strong nostalgic appeal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis pair is ideal for adding a soft, collected layer to a bedroom, vanity, nursery, dressing area, or cottage-inspired shelf. Styled with antique portraits, pressed flowers, perfume bottles, lace, or old books, they create a charming romantic vignette without needing to scream “theme room,” which is a mercy we should all be grateful for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe pair works especially well together because the shapes, glaze, floral details, and scale feel coordinated. They can be used for family photos, vintage portraits, art clippings, dried botanicals, or left empty as decorative objects in a feminine cottage display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"784.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSet of two vintage multi-photo tabletop frames\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCottage, shabby chic, romantic Victorian revival, grandmillennial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDate\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCirca 1980s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePeriod\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLate 20th century\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlazed ceramic or ceramic-style molded frame with cardboard\/easel backing\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFinish\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlossy cream crackle-glaze appearance\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecoration\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePink rose floral decals with muted green and taupe foliage\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLarger Frame\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMulti-opening design with mixed oval, square, and rectangular photo openings\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSmaller Frame\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eThree-photo design with one large oval opening and two rectangular openings\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDisplay Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTabletop easel backs\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor Palette\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCream, soft pink, muted green, taupe, black backing\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLarger: approx. 11–13 in. H x 8–10 in. W; smaller: approx. 8–10 in. H x 6–8 in. W\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLarger: approx. 2–3.5 lb; smaller: approx. 1–2 lb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with visible crazing, surface wear, backing wear, and age-related patina\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBest Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVanity decor, bedroom styling, nursery decor, cottage shelf display, family photo display, vintage portrait display\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition overall. Both frames show visible crackle\/crazing throughout the cream glazed surface, light surface wear, age-related discoloration, and wear to the floral decals. The backs show scuffing, peeling, and handling wear consistent with age. Easel backs are present. Photo openings\/glass or inserts may show dust, haze, or minor marks. No major front-facing breaks are visible in the provided photos, but minor edge wear should be expected.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43217327030377,"sku":"VE-0942","price":52.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/5036AF0A-A62E-4293-BBB8-40D17A6DD565.png?v=1778671932"},{"product_id":"vintage-h-k-tunstall-art-deco-hand-painted-fruit-bowl-c-1930s","title":"H\u0026K Tunstall Art Deco Hand-Painted Fruit Bowl, c. 1930s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEnglish Art Deco handled fruit bowl by H\u0026amp;K Tunstall, c. 1930s.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eEarthenware body with scalloped rim, molded side handles, yellow exterior wash, cobalt blue borderwork, and hand-painted fruit decoration.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMarked “Tutum,” “Made in England,” and “H\u0026amp;K Tunstall” on the underside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis vintage English bowl has a shaped Art Deco profile with soft angular edges, shallow basin form, and integrated side handles. The interior is decorated with hand-painted fruit and foliage, including grapes, citrus-toned fruit, and green leaves, set against expressive brushwork in cobalt blue, tan, brown, cream, and muted rose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe exterior carries a warm yellow glaze wash, giving the piece a strong color presence from both front and back. The black rim outline, molded handle detail, and painterly decoration place it firmly within early 20th-century English decorative pottery, with a handmade quality that feels collected rather than overly formal. A useful little reminder that bowls did, at one point, have more personality than most modern apartments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout H\u0026amp;K Tunstall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eH\u0026amp;K Tunstall refers to Hollinshead \u0026amp; Kirkham, a Staffordshire pottery manufacturer based in Tunstall, England. Tunstall was one of the historic pottery towns associated with Stoke-on-Trent, a major center of English ceramic production.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring the early 20th century, English potteries produced a wide range of decorative earthenware pieces with bold color, molded forms, hand-finished details, and Art Deco influence. This bowl reflects that period through its shaped silhouette, saturated color palette, and hand-painted fruit motif.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical Context\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis bowl belongs to the English Art Deco pottery tradition of the 1930s, when Staffordshire makers produced expressive decorative wares for everyday homes. Unlike formal porcelain, these pieces often emphasized color, shape, and hand-painted surface treatment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe fruit motif was especially popular in domestic pottery of the period, connecting the piece to kitchens, dining rooms, sideboards, breakfast tables, and informal entertaining. The scalloped form and painterly decoration give it a balance of function and ornament, while the H\u0026amp;K Tunstall mark anchors it to a known English pottery manufacturer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is in good vintage condition with age-appropriate wear. The glaze remains glossy, and the hand-painted fruit decoration is clear and visually strong. The underside shows light age marks, minor surface speckling, and small glaze imperfections consistent with vintage ceramic production.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are small signs of use and wear to the rim and high points. No major chips or cracks are visible from the photos. The underside includes a small raised glaze imperfection near the foot ring and minor blue pigment marks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece has not been restored. Its original glaze, painted decoration, and maker’s mark remain intact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis bowl brings color, movement, and English Art Deco character into a room without feeling overly precious. The cobalt blue and yellow palette makes it visually strong, while the hand-painted fruit motif keeps it warm and approachable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUse it on a kitchen shelf, dining table, bar cart, vanity, bookshelf, or console. It works beautifully as a small fruit bowl, jewelry dish, wrapped-candy bowl, or layered tabletop accent. Its appeal is in the combination of maker, period, color, and form: a decorative piece with history, not a generic bowl wearing a fruit costume.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eObject Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHandled fruit bowl \/ small serving dish\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eH\u0026amp;K Tunstall\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMarking\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e“Tutum,” “Made in England,” “H\u0026amp;K Tunstall”\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOrigin\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTunstall, Staffordshire, England\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePeriod\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1930s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEnglish Art Deco pottery\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEarthenware \/ ceramic\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCobalt blue, yellow, tan, brown, cream, green, purple, rose\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFruit and foliage\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eShape\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eScalloped shallow bowl with molded side handles\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eExterior\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eYellow glaze wash\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eInterior\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHand-painted fruit decoration with painterly brushwork\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 7.5–9 in L handle-to-handle x 5.5–6.75 in W x 1.75–2.5 in H\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 10–18 oz\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecorative display, fruit bowl, tabletop accent, jewelry dish, serving accent\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCare\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHand wash recommended \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43253816197225,"sku":"VE-1054","price":66.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/698EF59F-08A5-4F4F-A771-8784F622461E.jpg?v=1780040060"},{"product_id":"franciscan-coronado-swirl-bread-plates-set-of-4-c-1950s-1960s","title":"Franciscan Coronado Swirl Bread Plates, Set of 4, c. 1950s–1960s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSet of four vintage \u003c\/span\u003e\u003cspan\u003eFranciscan Coronado\u003c\/span\u003e\u003cspan\u003e small plates.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMade in California, U.S.A., by Franciscan earthenware.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eGlazed ceramic with radiating swirl\/fluted form in soft pastel tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis set includes four small Franciscan earthenware plates in the sculptural \u003c\/span\u003e\u003cspan\u003eCoronado\u003c\/span\u003e\u003cspan\u003e form, known for its radiating swirl pattern and softly scalloped rim. The plates appear in mixed neutral and pastel glazes, including pale pink, cream, beige, and blush tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe undersides are stamped \u003c\/span\u003e\u003cspan\u003eFranciscan Earthenware \/ Made in California \/ U.S.A.\u003c\/span\u003e\u003cspan\u003e with pattern\/color numbers beneath. The Franciscan Ceramics Archive documents Franciscan earthenware marks and California production across the mid-20th century, and Franciscan production was based in California before later production moved overseas. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with age-appropriate wear. The plates show light surface marks, glaze variation, and minor signs of handling consistent with mid-century ceramic tableware. The undersides retain readable Franciscan backstamps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo obvious large cracks are visible in the provided photos. Rims should be checked closely for small chips or flea bites before final listing, because scalloped ceramic edges apparently exist to torment resellers one tiny nick at a time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical Context\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFranciscan dinnerware began under Gladding, McBean \u0026amp; Co. in California and became one of the most recognizable American ceramic tableware lines of the 20th century. Franciscan produced earthenware tableware and art ware in California before the brand’s later ownership and overseas production changes. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003eCoronado\u003c\/span\u003e\u003cspan\u003e shape reflects Franciscan’s mid-century interest in molded texture, color, and casual California table settings. Unlike heavily decorated floral patterns, these plates rely on form and glaze: the ribbed swirl catches light, while the pastel colors keep the set soft and easy to style.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis set works beautifully for small dessert service, bread plates, tea service, vanity styling, or open-shelf display. The pastel mix gives the group a collected look without feeling chaotic, which is a miracle considering humans invented matching sets and then immediately started losing pieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey pair well with linen, silverplate, milk glass, pale florals, stoneware, cottage interiors, California pottery collections, and soft vintage table settings. They are useful, sculptural, and small enough to style almost anywhere.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eObject Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSmall plates \/ bread plates \/ dessert plates\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eQuantity\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSet of 4\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFranciscan\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePattern \/ Shape\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCoronado swirl \/ fluted form\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1950s–1960s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOrigin\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCalifornia, U.S.A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMarking\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFranciscan Earthenware \/ Made in California \/ U.S.A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlazed earthenware ceramic\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColors\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePale pink, blush, cream, beige \/ tan\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRim\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSoft scalloped edge\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDesign\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRadiating ribbed swirl pattern\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e5.5–6.5 in. diameter each\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e6–10 oz. each\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSuggested Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBread plates, dessert plates, saucers, jewelry dishes, vanity styling, wall display \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43254035841129,"sku":"VE-1070","price":52.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/915E7FB3-39CB-434A-BAD5-F059877AF9FE.jpg?v=1780051871"},{"product_id":"ceramic-retirement-fund-coin-bank-with-grandpa-and-dog-c-1960s-1970s","title":"Ceramic “Retirement Fund” Coin Bank with Grandpa and Dog, c. 1960s–1970s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMid-century ceramic novelty coin bank.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eFigural elderly man seated in a high-back chair with pipe and dog.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eBack of chair marked \u003c\/span\u003e\u003cspan\u003e“RETIREMENT FUND”\u003c\/span\u003e\u003cspan\u003e above the coin slot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis vintage ceramic bank depicts an older gentleman seated in a brown chair, wearing a green robe or jacket, holding a pipe, and resting with a small dog on his lap. The reverse is molded as the back of the chair, with a horizontal coin slot and hand-lettered \u003c\/span\u003e\u003cspan\u003e“RETIREMENT FUND”\u003c\/span\u003e\u003cspan\u003e text above it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece has the look of mid-century Japanese export novelty ceramics from the \u003c\/span\u003e\u003cspan\u003e1960s–1970s\u003c\/span\u003e\u003cspan\u003e, made for gift shops, desk decor, retirement humor, and household coin saving. It is charming, worn, a little ridiculous, and honestly more emotionally honest about retirement than most financial planning brochures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWell-worn vintage condition with visible age throughout. The ceramic shows heavy crazing, surface grime, scuffs, paint loss, and glaze wear across the figure, chair, dog, face, hands, robe, and raised edges. The reverse text remains readable, and the coin slot is present.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe underside is open and does not appear to retain its original stopper. The base shows staining, crazing, residue, and worn or illegible maker marks. No obvious major structural crack is visible in the provided photos, but the glaze crazing is extensive and should be considered part of the overall aged condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical Context\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNovelty ceramic banks like this were common mid-century gift items, especially through the 1950s, 1960s, and 1970s. Many were produced for the American market by Japanese export manufacturers, often featuring humorous domestic themes: retirement, rainy day funds, vacation money, drinking money, and other practical little human anxieties turned into ceramics. Commerce really looked at mortality and said, “Put a coin slot in it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis bank fits that tradition closely. The “Retirement Fund” text, seated grandpa figure, pipe, dog, and oversized chair all point to a humorous gift object meant for desks, shelves, offices, dens, or household coin saving.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece works as a small vintage oddity, retirement gag gift, office shelf object, or characterful ceramic collectible. The worn glaze and paint loss give it a lived-in quality that makes it feel more like an estate-found object than a polished collectible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt would sit well in a den, office, bookshelf, man cave, vintage ceramic collection, or as a tongue-in-cheek retirement gift. The dog detail adds warmth, while the heavy age wear keeps the piece from feeling overly precious. Grandpa has clearly seen things. Possibly compound interest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eObject Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFigural coin bank \/ novelty bank\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1960s–1970s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMid-century novelty \/ Japanese export style\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlazed ceramic\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSubject\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eElderly man seated in chair with pipe and dog\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eText\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e“RETIREMENT FUND” on reverse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCoin Slot\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHorizontal slot on back of chair\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBottom\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOpen bottom; stopper not present\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColors\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGreen, brown, cream, peach, black, white\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFinish\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGloss glazed ceramic\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUnconfirmed \/ unmarked or illegible\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e6–7.5 in. H x 4–5.5 in. W x 4–5 in. D\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e12–24 oz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSuggested Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eNovelty bank, retirement gift, shelf decor, desk object, vintage oddity display   \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43254174449769,"sku":"VE-1072","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/D4E1E96E-20CB-40F0-B429-17AD2DB12F90.jpg?v=1780069594"},{"product_id":"taylor-ironstone-currier-ives-blue-plates-pair-c-late-1950s","title":"Taylor Ironstone Currier \u0026 Ives Blue Plates, Pair c. late 1950s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pair of vintage \u003c\/span\u003e\u003cspan\u003eTaylor Ironstone Currier \u0026amp; Ives plates\u003c\/span\u003e\u003cspan\u003e by \u003c\/span\u003e\u003cspan\u003eTaylor, Smith \u0026amp; Taylor\u003c\/span\u003e\u003cspan\u003e, made in the U.S.A. and designed in a classic blue-and-ivory transferware style. Each plate features a detailed rural homestead scene, complete with farmhouse, trees, wagon, fenced landscape, and pastoral countryside detailing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe decorative blue border gives the pair a tailored Americana look, while the ironstone body adds the weight and practicality associated with mid-century American dinnerware. They are sturdy, nostalgic, and charming without being overly precious, which is more than can be said for most “farmhouse” decor made after 2015.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTaylor, Smith \u0026amp; Taylor was part of America’s strong domestic pottery tradition, producing durable household ceramics for everyday use throughout the 20th century. The \u003c\/span\u003e\u003cspan\u003eTaylor Ironstone\u003c\/span\u003e\u003cspan\u003e line reflected the mid-century demand for dishes that were attractive enough for the table but durable enough for regular family meals.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis \u003c\/span\u003e\u003cspan\u003eCurrier \u0026amp; Ives\u003c\/span\u003e\u003cspan\u003e pattern draws inspiration from the famous 19th-century American printmakers known for romanticized scenes of rural life, homes, winter landscapes, horses, and early American domestic imagery. By the \u003c\/span\u003e\u003cspan\u003elate 1950s\u003c\/span\u003e\u003cspan\u003e, this kind of colonial revival and nostalgic Americana styling was especially popular in American homes. Families wanted dishware that felt traditional, wholesome, and rooted in heritage, because apparently even dinner needed a backstory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe backstamp notes \u003c\/span\u003e\u003cspan\u003e“oven proof”\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003e“detergent safe,”\u003c\/span\u003e\u003cspan\u003e placing the plates firmly in the practical mid-century era when manufacturers promoted convenience, durability, and modern household compatibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eAttribute\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePair of Vintage Currier \u0026amp; Ives Plates\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTaylor, Smith \u0026amp; Taylor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLine\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTaylor Ironstone\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePattern\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCurrier \u0026amp; Ives\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. late 1950s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOrigin\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eU.S.A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlazed ironstone ceramic\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eIvory ground with blue transfer-style decoration\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDesign\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRural homestead scene with decorative blue border\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eQuantity\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e2 plates\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. \u003c\/span\u003e\u003cspan\u003e7.25–7.75 in diameter each\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCombined Stacked Height\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. \u003c\/span\u003e\u003cspan\u003e1.25–1.75 in\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCombined Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. \u003c\/span\u003e\u003cspan\u003e1.5–2 lb unpacked\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBackstamp\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTaylor Ironstone, Taylor Smith \u0026amp; Taylor Co., Oven Proof, Detergent Safe, Currier Ives, U.S.A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVintage condition with light surface wear; no obvious major chips or cracks visible in photos\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBest Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDisplay, wall plate styling, cottage dining, farmhouse table setting, Americana collection\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy It Belongs In Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis pair has the kind of late-1950s American charm that works beautifully in a cottage kitchen, farmhouse dining room, blue-and-white plate wall, or layered vintage tablescape. The scene is detailed and nostalgic, while the blue border gives the plates just enough structure to feel decorative rather than overly sentimental.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey are especially good for collectors of \u003c\/span\u003e\u003cspan\u003eblue transferware\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eAmerican ironstone\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eCurrier \u0026amp; Ives dinnerware\u003c\/span\u003e\u003cspan\u003e, or mid-century Americana. Display them on a shelf, hang them as a pair, or use them as accent plates for serving small bites, desserts, or breakfast. Civilization may be crumbling, but at least the toast can sit on something charming.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47670395863145,"sku":"VE-1090","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/CA434FFD-2504-4AEF-8869-2D8B80974188.jpg?v=1780649927"},{"product_id":"untitled-jun9_10-11-11","title":"1991 Lefton Carousel Horse Music Box | Camelot Tune","description":"\u003ch2 data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eThe Piece\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eA charming \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003evintage Lefton carousel horse music box\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, dated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1991\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, featuring a hand-painted carousel horse suspended on a gilt-tone pole above a rounded wood base. The horse is richly detailed with pastel blue, pink, ivory, white, and gold accents, giving the piece a nostalgic storybook quality with the polished charm of late 20th-century decorative collectibles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe underside retains its original labels, including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLefton China Hand Painted Exclusives\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e© 1991 Geo. Z. Lefton\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, item number \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e07903B\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and a tune label for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Camelot.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e A red instruction label reads \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Do Not Overwind. Switch On Back,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e confirming the piece as a wind-up musical object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCompact, decorative, and highly giftable, this piece sits beautifully on a vanity, nursery shelf, bookcase, or collected vintage vignette.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eHistory\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eLefton was a well-known decorative giftware and collectible brand associated with hand-painted ceramics, figurines, music boxes, and home accents throughout the 20th century. This example belongs to the later Lefton collectible period and is clearly marked \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMade in China\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with a copyright date of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1991\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCarousel horse music boxes were especially popular decorative collectibles in the late 20th century, combining nostalgic amusement-park imagery with music-box sentimentality. The “Camelot” tune adds to the romantic, theatrical quality of the piece, pairing well with the ornate carousel styling and pastel-painted saddle details.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is best dated to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ec. 1991\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, based on the original underside label.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eProduct Details\u003c\/span\u003e\u003c\/h2\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003e\u003cspan\u003eAttribute\u003c\/span\u003e\u003c\/th\u003e\n\u003cth\u003e\u003cspan\u003eDetail\u003c\/span\u003e\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eVintage carousel horse music box\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eMaker \/ Brand\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eLefton \/ Geo. Z. Lefton\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eMarkings\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e“Lefton China Hand Painted Exclusives,” “© 1991 Geo. Z. Lefton,” “07903B”\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eTune\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e“Camelot”\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eDate\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003ec. 1991\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eOrigin\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eMade in China\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eMaterials\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003ePainted carousel horse figure, gilt-tone metal pole, wood base, wind-up music movement\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eColor Palette\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eIvory, white, pastel blue, pink, gold-tone accents, natural wood base\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eVintage condition with light age-related wear, minor surface marks, and wear to underside labels consistent with age and use\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eVintage collectible, carousel decor, music box, nostalgic decorative object\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan\u003eFunction\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003eWind-up music box with switch on underside\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch2\u003e\u003cspan\u003eWhy It Belongs In Your Home\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis Lefton carousel horse music box brings a sweet, nostalgic presence to a room without feeling overly precious. The hand-painted detailing, soft pastel palette, and warm wood base make it an easy accent for a nursery, guest room, dressing table, bookshelf, or vintage-inspired display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts small scale gives it versatility, while the original labels add collector interest and help anchor the piece with a clear date and maker. Whether styled with antique books, vanity objects, children’s keepsakes, or other music boxes, it offers a quiet touch of whimsy and charm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA lovely piece for collectors of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLefton music boxes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecarousel horse decor\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1990s collectibles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, or anyone drawn to romantic vintage objects with a sense of movement and nostalgia.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47680746356841,"sku":"VE-1113","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/965706B7-E8E9-4D13-AFDA-FBC56A197DC4.jpg?v=1781025154"},{"product_id":"mid-century-ceramic-pineapple-lidded-dish-inscribed-1967","title":"Mid-Century Ceramic Pineapple Lidded Dish, Inscribed 1967","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA charming mid-century glazed ceramic lidded dish, softly finished in cream-white and blush pink with a raised pineapple-and-fruit motif across the lid. The form is low, rounded, and beautifully tactile, with a scalloped lobed body that gives the piece a gentle sense of movement and hand-finished character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe underside of both the lid and base are hand-incised \u003c\/span\u003e\u003cspan\u003e“CHERYL \/ 67,”\u003c\/span\u003e\u003cspan\u003e giving the piece a personal, dated quality while preserving the mystery of its maker. It is best described as a mid-century studio or hobby ceramic piece, likely dating to \u003c\/span\u003e\u003cspan\u003ec. 1967\u003c\/span\u003e\u003cspan\u003e, with the maker otherwise unidentified.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts soft palette, glossy glaze, and sculptural fruit relief make it a lovely accent for a kitchen shelf, entry table, vanity, hutch, or collected ceramic display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe pineapple has a long history in decorative arts as a symbol of welcome and hospitality, appearing in architecture, furniture, textiles, silver, and ceramics from the 18th century onward. Smithsonian Libraries notes the pineapple’s established role as a hospitality motif, while Colonial Williamsburg also documents its use across decorative forms including ceramics and furniture. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece brings that tradition into a mid-century domestic form: decorative, useful, and personal. The molded relief and fitted lid suggest ceramic mold work, while the incised \u003c\/span\u003e\u003cspan\u003e“CHERYL \/ 67”\u003c\/span\u003e\u003cspan\u003e gives the object a distinctly handmade or hand-finished presence. Without a factory mark or documented maker, the safest attribution is \u003c\/span\u003e\u003cspan\u003emid-century glazed ceramic, maker unidentified, inscribed 1967\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy It Belongs In Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the kind of small vintage object that adds warmth without demanding attention like a badly behaved chandelier. The blush pink glaze softens the form, while the raised fruit motif gives it texture, charm, and a quiet hospitality symbolism that works beautifully in layered interiors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlace it on a kitchen shelf, coffee station, entry console, vanity, or antique hutch. It can hold wrapped sweets, matches, jewelry, keys, or simply exist as a sculptural ceramic accent. Because of the visible crazing and age-related wear, it is best enjoyed decoratively rather than used for open food storage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts appeal lies in the combination of form, date, and personal inscription: a small mid-century ceramic piece with just enough mystery to feel collected, not mass-produced.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"1445.5\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eAttribute\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e12w x 2h\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGlazed ceramic, likely earthenware\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCream-white glaze with blush pink mottled decoration\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVintage condition with allover crazing, light staining, glaze wear, small rim fleabites\/chips, and a possible fine hairline visible on the lid. No obvious repairs visible in photos.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker \/ Origin\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker unidentified; hand-incised “CHERYL \/ 67”\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePeriod\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMid-20th century; inscribed 1967\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMid-century decorative ceramic, studio\/hobby ceramic, fruit motif\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUse\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecorative use recommended \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47702124232809,"sku":"VE-1140","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ACCA98B7-74DC-4A95-A9C3-7142BBBC0E30.jpg?v=1781634533"},{"product_id":"1976-harolds-club-reno-jim-beam-regal-china-gilt-floral-decanter","title":"1976 Harolds Club Reno Jim Beam Regal China Gilt Floral Decanter","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe Piece\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFew pieces of Reno memorabilia manage to be this unapologetically extravagant.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCreated in 1976 for James B. Beam Distilling Co. by Regal China Corporation, this tall ceramic liquor decanter was made for Harolds Club Reno, one of the most recognizable casinos in Nevada gaming history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe vessel takes the form of an elaborate ewer, its body built from alternating bands of metallic gold luster, warm amber edging, pale celadon glaze, and raised ceramic flowers. The decoration is almost architectural in its layering: a broad gilded base rises through molded scrollwork and beaded borders before giving way to the softly colored floral center.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the middle, applied blue and butter-yellow blossoms emerge in relief from a pale green ground. Their leaves and petals have been modeled rather than simply painted, giving the otherwise highly reflective bottle an unexpectedly delicate center.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbove them, the design returns dramatically to gold.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe shoulder and neck are covered in molded Rococo-inspired ornament, with vertical fluting, raised scrolls, beadwork, and areas where the metallic glaze intentionally breaks over the relief to reveal flashes of the white ceramic beneath. A long scrolling handle sweeps from the upper neck to the shoulder, turning the bottle into something closer to a nineteenth-century presentation ewer than ordinary barware.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the top, an asymmetrical white-glazed collar surrounds a removable fluted ceramic stopper finished in reflective silver-tone luster. Its scalloped crown continues the floral vocabulary of the body while creating a striking silver-and-gold contrast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSet into the front of the base is the feature that gives the object its real historical identity: a white ceramic reserve lettered “HAROLDS CLUB RENO” in metallic gold and dark lettering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe underside leaves almost nothing to speculation. Molded factory markings identify it as a “Creation of James B. Beam Distilling Co.”, reference KY-DRB-230, and “Genuine Regal China 1976.” The name C. Miller, Regal China Corporation, production number 145, and its designation as a liquor bottle are also molded directly into the base.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is not merely a vintage decorative ewer that happens to reference Reno. It is a documented 1976 Jim Beam advertising decanter made specifically within the Harolds Club collecting tradition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eHistory \u0026amp; Provenance\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHarolds Club occupies an unusually important place in Reno history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstablished in 1935 by Harold Smith and his brother Raymond, with their father Raymond I. “Pappy” Smith later becoming one of the casino’s most recognizable public figures, Harolds Club developed into one of Nevada’s best-known gaming establishments. The Nevada Historical Society has described the club’s national advertising campaign of the 1940s and 1950s as helping make it perhaps the most widely recognized Nevada casino of its era. The Smith family retained the business until its 1970 sale to Howard Hughes’s Summa Corporation. (\u003ca href=\"https:\/\/epubs.nsla.nv.gov\/statepubs\/epubs\/210777-1986-2Summer.pdf?utm_source=chatgpt.com\"\u003eNSLA\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCeramic decanters were not incidental to Harolds Club’s identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA 1968 Harolds Club advertisement promoted its own Regal China Bottle Collection, describing a display of more than 80 famous Regal China Jim Beam decanters inside the casino’s second-floor Roaring Camp. The advertisement specifically presented the bottle collection as a Harolds Club attraction. (\u003ca href=\"https:\/\/travelnevada.com\/wp-content\/uploads\/2025\/04\/1968-Spring.pdf?utm_source=chatgpt.com\"\u003eTravel Nevada\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat makes this 1976 decanter particularly interesting. It belongs not simply to the enormous national craze for collectible whiskey bottles, but to a casino that had already incorporated those bottles into its own promotional history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRegal China Corporation was one of the principal American manufacturers behind the phenomenon. Founded around 1930 and later based in Antioch, Illinois, Regal became especially well known for its long-running production of Jim Beam ceramic decanters beginning in the mid-1950s. (\u003ca href=\"https:\/\/artmuseum-collection.usu.edu\/objects-1\/info\/728?objectName=Old+Fashioned+Quaker+Oats\u0026amp;records=60\u0026amp;sort=0\u0026amp;utm_source=chatgpt.com\"\u003eNEHMA\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe date is unequivocal here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe underside is molded “GENUINE REGAL CHINA 1976”, together with the James B. Beam Distilling Co. identification and C. Miller attribution. Contemporary collector-market examples also identify this exact form as the 1976 Harolds Club Reno ornate gold raised-floral decanter, approximately 12¼ inches high. (\u003ca href=\"https:\/\/www.ebay.ca\/sch\/i.html?_fsrp=1\u0026amp;_nkw=harolds+club+reno+decanter\u0026amp;_oaa=1\"\u003eeBay\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example entered the Viridian Eclection collection through Premier Auctions’ Collector’s Paradise Estate Auction in August 2026, where it was offered as Lot 117 and described as a tall gilt-decorated decanter with floral relief.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece therefore carries two separate layers of Nevada history: its original association with Harolds Club and its later rediscovery through a Northern Nevada estate auction roughly fifty years after it was produced.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eProduct Details\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e|Field \u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Detail\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|----------------------|----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Object\u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Advertising liquor decanter \/ decorative ceramic ewer \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Casino\u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Harolds Club, Reno, Nevada\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Distiller \u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|James B. Beam Distilling Co.\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Manufacturer\u003cspan class=\"Apple-converted-space\"\u003e          \u003c\/span\u003e|Regal China Corporation \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Designer \/ Mark \u003cspan class=\"Apple-converted-space\"\u003e      \u003c\/span\u003e|C. Miller \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Marks \u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Molded underside markings including “Creation of James B. Beam Distilling Co.,” “KY-DRB-230,” “Genuine Regal China 1976,” “C. Miller,” “Regal China Corporation,” “145,” and liquor bottle designation\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                    \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Front Mark\u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Applied ceramic reserve reading “HAROLDS CLUB RENO” \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Style \u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Mid-Century Collectible \/ Hollywood Regency \/ Rococo Revival–Inspired \/ Casino Advertising\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Materials \u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Glazed ceramic \/ china with metallic gold and silver-tone luster decoration \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Technique \u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Molded ceramic construction with raised relief decoration, applied floral elements, polychrome glazing, metallic luster finish, and molded lettering\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Decoration\u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Raised blue and yellow flowers with green leaves, celadon-toned floral band, extensive metallic gold luster, molded scrollwork, fluting, beading, and silver-luster stopper \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                              \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Form\u003cspan class=\"Apple-converted-space\"\u003e                  \u003c\/span\u003e|Tall single-handled ewer-form liquor decanter with removable fluted stopper \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Colors\u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|Metallic gold, silver, ivory, pale celadon green, powder blue, butter yellow, warm amber, and white \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Origin\u003cspan class=\"Apple-converted-space\"\u003e                \u003c\/span\u003e|United States \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Era \u003cspan class=\"Apple-converted-space\"\u003e                  \u003c\/span\u003e|**1976**\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Dimensions\u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Approx. **12¼″ H** overall; additional measurements to be confirmed \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Condition \u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Good vintage condition with substantial original character and age-appropriate wear. Metallic gold luster displays scattered rubbing, oxidation, finish loss, and areas of exposed white ceramic, particularly around the lower base, raised relief, neck, and projecting edges. Floral decoration remains well defined with expected glaze variation, small surface marks, and light discoloration. The Harolds Club Reno reserve remains legible. Removable fluted stopper is present. Underside displays shelf wear and residue consistent with age and previous display. No major structural cracks or losses are visible in the provided photographs.|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Provenance\u003cspan class=\"Apple-converted-space\"\u003e            \u003c\/span\u003e|Acquired by Viridian Eclection from Premier Auctions, Collector’s Paradise Estate Auction, August 2026, Lot 117 \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e|Availability\u003cspan class=\"Apple-converted-space\"\u003e          \u003c\/span\u003e|One of a Kind — 1 Available \u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              \u003c\/span\u003e|\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-converted-space\"\u003e                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               \u003c\/span\u003e|\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWhy It Belongs in Your Home\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven if the front did not say HAROLDS CLUB RENO, this would still be a spectacularly strange little object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGold luster. Silver luster. Celadon glaze. Applied blue flowers. Rococo scrollwork. A dramatic handle. A flower-shaped stopper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRestraint was clearly not invited to the design meeting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut the excess is exactly what makes it work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was produced during an era when a whiskey bottle was allowed to become furniture for the bar. Once the bourbon was gone, the packaging was expected to remain on a shelf, mantle, back bar, or display cabinet as an object in its own right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a Reno collection, however, it becomes something considerably more specific.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHarolds Club was not simply another casino whose name was printed onto a souvenir. The club actively celebrated collectible Regal China bottles, at one point displaying dozens of them inside the casino itself. (\u003ca href=\"https:\/\/travelnevada.com\/wp-content\/uploads\/2025\/04\/1968-Spring.pdf?utm_source=chatgpt.com\"\u003eTravel Nevada\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece arrives from that same tradition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlace it among old casino memorabilia, vintage barware, Nevada ephemera, brass objects, books, or an intentionally over-collected cabinet and it carries the visual impact of decorative ceramics with the historical specificity of a surviving Reno artifact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe worn gold may actually be its best feature. Fifty years of handling have softened the mirror-bright finish along the relief, exposing traces of white porcelain underneath and preventing the piece from looking like the decorative reproduction it very easily could have been.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnd unlike anonymous vintage décor, this one tells you exactly what it is.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHarolds Club. Reno. Regal China. James B. Beam. 1976.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHalf a century later, it is still advertising the Biggest Little City.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47944830713961,"sku":"VE-1352","price":84.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/98324534-3776-484B-A2DB-0F9E019C4F5F.jpg?v=1787637885"},{"product_id":"hand-built-studio-pottery-bowl-with-impressed-relief-pierced-openwork-and-painted-roses-in-black-and-crimson-signed-c-1970-2000","title":"Hand-Built Art Pottery Bowl with Impressed Relief, Pierced Openwork and Painted Glasgow Roses, Signed, c. 1900–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\u003cp\u003eA shallow bowl built by hand from a single slab of pale clay, and there is no attempt anywhere on it to hide how it was made. The slab was pressed into a textured mould that left a dense relief of roses, scrolls and foliate ornament across the whole surface, then draped into a curve and trimmed. The rim was cut freehand and left ragged, rising and falling around the circumference with two flat tabs projecting from the edge like leaves.\u003c\/p\u003e\u003cp\u003eThrough the upper wall the potter cut openings straight through the slab, so one side of the bowl is open fretwork and light passes through it. Around the piercings the clay is thick and rolled where it was pushed aside rather than cleaned up.\u003c\/p\u003e\u003cp\u003eOver the cream glaze the decoration was brushed on freely: concentric spiral roses drawn in charcoal black, shadowed and filled with crimson, laid down fast in single loaded strokes. The brush skips and drags where the glaze surface was uneven, and no two roses are the same size or the same weight of line.\u003c\/p\u003e\u003cp\u003eThe underside was not treated as an afterthought. It carries scattered dabs of cobalt blue and crimson across the cream, and a recessed foot area where the clay was pressed flat.\u003c\/p\u003e\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\u003cp\u003eThis is hand work, not factory production, and it should be described that way from the start. It is a one-off made by a person at a bench, not a piece from a pottery with a catalogue — the freehand rim, the pushed-through piercings, the variable brushwork and the unrepeated shape all say so.\u003c\/p\u003e\u003cp\u003eIncised into the foot is a signature of four or five letters. It was cut into soft clay with a tool, then partly filled and softened by the glaze that flowed over it in the firing, and we cannot read it with confidence. We are not going to assign a name to a mark we cannot make out.\u003c\/p\u003e\u003cp\u003eThe decoration names its period. The stylised rose here — a flat spiral in a heavy dark outline, with colour laid into the coil rather than shaded naturalistically — is the Glasgow Rose, the device Charles Rennie Mackintosh, Margaret Macdonald and the designers around them developed in Glasgow from the mid-1890s. It ran through Arts and Crafts and Art Nouveau work and carried on into the 1920s.\u003c\/p\u003e\u003cp\u003eThe material settles it. This is low-fired earthenware under a cream glaze, decorated with a brush in a limited palette — and that combination belongs to the art pottery of roughly 1900 to 1930, when hand potters worked in painted earthenware. The studio pottery movement that followed went the other way: from the 1920s Bernard Leach and Hamada Shōji established a high-fired stoneware tradition, and for decades afterwards hand-made pottery meant reduction-fired stoneware in muted browns and celadons, valuing glaze and form over painted ornament. A cream earthenware bowl carrying brushed Glasgow roses does not sit in that later tradition. It sits before it.\u003c\/p\u003e\u003cp\u003eThe rest of the physical evidence agrees. The glaze carries fine crazing over the entire piece, inside and out, of the tight even kind that develops across decades rather than years. The slab was pressed over a relief mould and cut freehand, and the whole object — underside included — was decorated by hand, which is Arts and Crafts practice rather than later studio habit.\u003c\/p\u003e\u003cp\u003eThere is no date, no workshop mark, and no country stamp, so the range below is built from material, technique and motif rather than from documentation. We are giving a window rather than a year, because a window is what the evidence supports.\u003c\/p\u003e\u003ch3\u003eProduct Details\u003c\/h3\u003e\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\" style=\"width:100%; border-collapse:collapse;\"\u003e\n\u003cthead\u003e\u003ctr\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eObject\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHand-built decorative bowl\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOrigin\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eUnattributed art pottery. An incised signature is present to the foot but is not legible enough to attribute.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eForm\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eSlab-built shallow bowl with mould-impressed relief, freehand-cut irregular rim with two projecting tabs, and cut openwork through the upper wall\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMaterial\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eLow-fired glazed earthenware in cream, with hand-brushed decoration in black, crimson and cobalt blue\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMarks\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eIncised signature to the foot, illegible\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eEra\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ec. 1900–1930\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCondition\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eVery good. The bowl is structurally sound with no cracks, breaks, chips, or repairs, and it sits stable. There is fine overall crazing throughout the glaze, consistent with age in a low-fired body. Scattered pinholes, small glaze bubbles, and dark firing specks are present, along with minor unglazed rough patches where the clay was trimmed and around the piercings. All of this is original to the making. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eAvailability\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\u003cp\u003eMost decorative bowls are quiet. This one is not, and that is the reason to buy it. Set on a console, a coffee table, or an open shelf, it does the work a piece of art does — it holds the eye, it starts a conversation, and it keeps a room from reading as a showroom. The black and crimson against cream is a hard combination to find in ceramics and an easy one to place, because it picks up dark wood, black metal, and red-toned textiles without matching any of them.\u003c\/p\u003e\u003cp\u003eThe openwork is what lifts it. Put it near a lamp or a window and the cut sections throw pattern; the piece reads differently at every hour. Filled with dried botanicals, pinecones, or a coil of beads it looks intentional; empty it looks better.\u003c\/p\u003e\u003cp\u003eIt also carries the appeal of the unrepeatable. There is exactly one of these, made in an afternoon by somebody who cut the rim where they felt like cutting it. Nothing on a shelf of manufactured goods has that.\u003c\/p\u003e\u003cp\u003eA note on use and care, and please read this one. Treat this as a decorative object only. The wall is pierced so it will not hold liquid in any case, and more importantly, decorative earthenware glazes of this period were commonly compounded with lead. This glaze has not been tested. Keep all food and drink away from it — use it for keys, jewellery, dried botanicals and display, and nothing that goes in a mouth. The crazing means the surface is porous at the cracks, so never soak it and never put it in a dishwasher; wipe it with a barely damp cloth and dry it at once. Handle it by the body rather than the rim or the projecting tabs, which are the thinnest points, and keep it out of freezing conditions.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48028625567849,"sku":"VE-1428","price":126.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3693.jpg?v=1788997758"},{"product_id":"vintage-relief-moulded-neoclassical-biscuit-barrel-c-1930-1955","title":"Vintage Relief-Moulded Neoclassical Biscuit Barrel, c. 1930–1955","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA barrel-form covered jar in cream earthenware, worked in low relief with classical figures in a landscape and tinted in soft blue, rose, green and red-brown, under a clear glaze crazed finely all over.\u003c\/p\u003e\n  \u003cp\u003eThe relief is moulded, not applied. The figures, the trees and the foliage rise out of the body itself rather than being sprigged on afterwards, and the modelling runs continuously into the ground where it meets it. That is a single press from a worked mould, and it is the difference between this and the jasperware tradition it is quoting.\u003c\/p\u003e\n  \u003cp\u003eThe frieze runs the full circumference. A maiden in flowing drapery carries a basket of flowers on her head; a second stands at a pedestal with her arm extended; a child figure attends between them. Between the figures stand a broad-canopied tree, a young conifer in a pot and a low flowering shrub. Small moulded lug handles sit at either side.\u003c\/p\u003e\n  \u003cp\u003eThe colour is the interesting part. It has been laid on the raised surfaces only — blue across one figure’s drapery, rose across the other’s, green through the canopies, red-brown down the trunks — and the cream ground has been left entirely bare. Applied thin, the washes read as tint rather than paint: the modelling still governs the light, and the colour only tells you where to look.\u003c\/p\u003e\n  \u003cp\u003eThe cover is domed, flanged to seat inside the rim, and moulded with oak leaves and acorns radiating from the centre. They are tinted the same soft green, and the finial at the top is a modelled acorn glazed in red-brown.\u003c\/p\u003e\n  \u003cp\u003eThe base is glazed over, with a recessed foot ring and a moulded script name raised from the surface, a number 67 beneath it. Both came out of the mould with the jar.\u003c\/p\u003e\n  \u003cp\u003eThe glaze carries a fine, even craze network across the whole piece, body and cover alike, and the crazing lines have taken a faint warm tone.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eWhat this jar is quoting is clear enough. Pale relief figures in classical drapery, arranged as a continuous frieze in a landscape, is the visual language Wedgwood established in jasper in the eighteenth century and which the pottery trade never stopped borrowing.\u003c\/p\u003e\n  \u003cp\u003eBut the borrowing here is technical as well as pictorial, and it went the other way from the original. Jasper is an unglazed stoneware, coloured through the body, with white relief sprigged on by hand piece by piece. This jar is glazed earthenware, cream throughout, with the relief pressed integrally in the mould and the colour brushed onto the raised surfaces afterwards. One is slow handwork; the other is one press, one tint and one firing.\u003c\/p\u003e\n  \u003cp\u003eThat substitution is what put the neoclassical frieze into ordinary houses. A moulded and tinted earthenware jar could be sold for a fraction of a sprigged one and still carry the same silhouette on a shelf, and it became a staple of the giftware trade — biscuit barrels, tobacco jars, jugs and tea caddies in cream relief with washed colour.\u003c\/p\u003e\n  \u003cp\u003eThe oak and acorn cover belongs to that trade too. Oak reads as English, as endurance and as hospitality, and acorn finials turn up across covered jars, tobacco humidors and caddies of the period regardless of what the body beneath them is decorated with.\u003c\/p\u003e\n  \u003cp\u003eOn date, the evidence is what the jar was made with rather than who made it. Integrally moulded relief tinted with translucent washes over a bare cream ground, under a soft clear glaze, is the earlier-to-mid twentieth-century giftware method, before slip-cast bodies with fired-on printed decoration displaced it. The mark supports that: it is raised script lifted out of the mould with a separate shape number, rather than an applied printed backstamp. And there is no country-of-origin mark anywhere on the piece, which caps how late it can be and points away from the import trade. On that evidence it is offered as c. 1930–1955.\u003c\/p\u003e\n  \u003cp\u003eThe crazing is not used as evidence of date here. An allover craze network is a glaze and body behaving differently over time and tells you about the glaze, not the decade.\u003c\/p\u003e\n  \u003cp\u003eWhat would settle it is the name. The script mark is legible as script but does not resolve into a reading under photography, and the number beside it is 67. Read under a loupe in raking light it would name the pottery outright. Until it is read, no maker is claimed and the jar is offered unattributed.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCovered barrel-form jar with moulded neoclassical relief frieze and oak-and-acorn cover\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eBody\u003c\/td\u003e\n\u003ctd\u003eCream earthenware under a clear glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eRelief moulded integrally with the body, not sprigged; translucent colour washes applied to the raised surfaces only — blue, rose, soft green and red-brown — with the cream ground left bare\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eSubject\u003c\/td\u003e\n\u003ctd\u003eClassical maidens in drapery with a flower basket, a pedestal and an attendant child figure, in a landscape of trees and shrubs, running the full circumference\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCover\u003c\/td\u003e\n\u003ctd\u003eDomed and flanged to seat inside the rim, moulded with radiating oak leaves and acorns, tinted green, with a modelled acorn finial glazed red-brown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eA moulded script name raised from the glazed base with the number 67 beneath it. The script does not resolve in photographs; no maker is named and the jar is offered unattributed. No country of origin appears on the piece.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 7 in high with the cover, approximately 6 in in diameter\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930–1955, on the making. Relief moulded integrally with the body and tinted with translucent washes over a bare cream ground, under a soft clear glaze, is the earlier-to-mid twentieth-century giftware method, displaced later by slip-cast bodies carrying fired-on printed decoration. The mark agrees: raised script lifted out of the mould with a separate shape number rather than an applied printed backstamp. No country-of-origin mark appears, which caps the upper end and points away from the import trade. The allover crazing is not treated as evidence of date.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eComplete with its original cover, which seats correctly on its flange. No chips, no cracks, no restoration found on the body, the rim, the cover or the finial, and the acorn finial is intact and undamaged. The glaze carries a fine, even craze network overall on both body and cover, with the lines lightly toned. Some faint grey scuffing and light soiling to the glazed base from shelf contact, and a small area of surface dulling inside the foot ring. All relief is crisp, with no rubbing to the high points, and the colour washes are strong and unfaded throughout. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eA covered jar that still has its cover is rarer than it sounds, and this one is undamaged down to the tip of the acorn.\u003c\/p\u003e\n  \u003cp\u003eLids are the first thing to go. They are lifted a thousand times, set down on hard counters, and knocked off shelves, and the finial takes the blow every time. Most jars of this kind survive as bodies with the lid long gone, or with a chipped and re-glued knop. This one is whole, and the acorn is perfect.\u003c\/p\u003e\n  \u003cp\u003eThe palette is what makes it easy to live with. Cream ground, soft green, faded rose, chalk blue, a warm red-brown — nothing saturated, nothing competing. It sits against limewash, against oak, against a painted dresser or an open kitchen shelf without arguing with anything already there.\u003c\/p\u003e\n  \u003cp\u003eThe relief does the work that pattern usually has to do. Because the decoration is modelled rather than printed, the jar changes through the day: raking morning light throws the figures into strong shadow, flat afternoon light lets the colour come forward. A printed jar looks the same at every hour. This one does not.\u003c\/p\u003e\n  \u003cp\u003eIt is a genuinely useful size. Biscuits and shortbread, loose tea, coffee beans, sugar, dried herbs, or nothing at all on a shelf beside books. On a bathroom shelf it takes cotton wool; on a desk it takes clips and stamps; on a dressing table it takes jewellery.\u003c\/p\u003e\n  \u003cp\u003eAnd it carries the neoclassical frieze into a room without the weight that comes with it. Real jasper reads formal and asks for a mantelpiece. Cream earthenware with a soft tint reads domestic, which is the whole reason the trade made it this way.\u003c\/p\u003e\n  \u003cp\u003eOn care. Wash by hand in warm water with a mild detergent and dry at once. The glaze is crazed, which means the craze lines will draw in liquid and stain permanently, so do not soak it, do not put it in a dishwasher, and do not use it for anything oily or strongly coloured. Keep it out of the microwave and away from direct heat — thermal shock is what turns crazing into cracking.\u003c\/p\u003e\n  \u003cp\u003eLift the cover by its flange rather than swinging it by the finial, and store it with the cover seated rather than inverted beside it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48065708753001,"sku":"VE-1633","price":227.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_4338.jpg?v=1789531320"},{"product_id":"vintage-cherie-starr-hand-painted-porcelain-plates-set-of-three-1978","title":"Vintage Cherie Starr Hand-Painted Porcelain Plates, Set of Three, 1978","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eThree porcelain plates painted by hand in overglaze colour, signed on the face and signed again in full and dated on the reverse: Cherie Starr, ’78.\u003c\/p\u003e\n  \u003cp\u003eThe blank does half the work. The rim is moulded in a spiral flute that turns the light as it runs around the plate, rising to a softly scalloped edge banded in platinum rather than gold, so each plate reads cool and silvered rather than warm. Inside the flutes the well drops to a plain circle, and that circle is the painter’s field.\u003c\/p\u003e\n  \u003cp\u003eThe first plate carries poppies on white. Two open blooms in coral and salmon, one full-face with a green button of a seed head at its centre, one in three-quarter view, a bud still closed in its calyx above and grey-green lobed leaves below. The stems are drawn in a fine dark line and bristle with tiny hairs — exactly how a poppy stem looks, and exactly the detail a copyist leaves out.\u003c\/p\u003e\n  \u003cp\u003eThe second carries apple blossom. Pink five-petalled flowers with yellow stamens run along a branch across the well, and behind them the painter laid a ground of soft blue, yellow-gold and pale green, washed in and wiped back, so the blossom sits in atmosphere instead of on white.\u003c\/p\u003e\n  \u003cp\u003eThe third is the most ambitious of the three: a full mixed bouquet. Coral poppies at the heart of it, blue cornflowers and daisies, lavender blooms above, yellow at the left, and dark green foliage drawn through the whole arrangement — all of it over the same soft tinted ground. Four colour families held together in one composition is a considerably harder thing than a single flower well painted.\u003c\/p\u003e\n  \u003cp\u003eThe painting is unmistakably hand-done and not a transfer. Seen close, the colour sits in translucent washes with soft bled edges, pooling darker where the brush outlined a petal and thinning to nothing where it was pulled away. The leaf contours wander the way a drawn line wanders. There is no halftone dot anywhere, no printed edge, and no repeat.\u003c\/p\u003e\n  \u003cp\u003eOn the face each is signed Cherie in a fine script. On the reverse, in the same green-black enamel, the painter has signed Cherie Starr in full and dated it ’78, with a small device set between the name and the year that does not resolve.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThese belong to a tradition most people have handled without knowing its name: American china painting.\u003c\/p\u003e\n  \u003cp\u003eThe method is overglaze. The plate arrives from the factory already made, glazed and fired — a blank, sold white and undecorated for exactly this purpose. The painter works on top of that fired glaze in mineral pigments ground into oil, then fires the plate again at a lower temperature so the colour sinks into the glaze surface and becomes permanent. Depth and tinted grounds need several passes with a firing between each one, because the pigments mature at different temperatures and a colour laid over an unfired colour will lift.\u003c\/p\u003e\n  \u003cp\u003eThat is why the bouquet and the blossom are the accomplished ones. A wiped ground behind a subject means the painter laid a wash across the whole well, lifted the flowers back out of it before it set, and fired that before touching the flowers themselves. The bouquet then required the coral, the blue, the lavender and the yellow to be built up without muddying into each other — more firings again.\u003c\/p\u003e\n  \u003cp\u003eChina painting reached America through the Philadelphia Centennial of 1876 and became one of the very few skilled trades a woman could practise for money in the decades that followed: painting blanks at home, selling through department stores, teaching classes. It carried on as a studio and club discipline right through the twentieth century, with a strong second wave from the 1960s as organised china-painting associations spread teaching, transfer-free technique and juried exhibition across the country.\u003c\/p\u003e\n  \u003cp\u003eThese three sit squarely in that second wave, and they date themselves. The reverse of each is signed Cherie Starr and dated ’78 in the painter’s own hand, in the same enamel as the painting and fired with it — which is the difference between a date written on an object and a date fired into it. The group is offered as 1978.\u003c\/p\u003e\n  \u003cp\u003eNo published record has been found for Cherie Starr, and none is claimed. That is the ordinary condition of this tradition rather than a gap: the overwhelming majority of American china painters worked through local studios, guilds and classes, exhibited regionally, signed their work properly, and never entered a national register. What survives of them is the work, signed and dated, which is what is here.\u003c\/p\u003e\n  \u003cp\u003eThe small device between name and year on the reverse has not been read. If it is a guild or association mark rather than a flourish, it would place her to a particular circle.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eThree hand-painted porcelain plates, overglaze decoration on commercial blanks\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eArtist\u003c\/td\u003e\n\u003ctd\u003eCherie Starr. Signed Cherie on the face of each; signed Cherie Starr in full and dated ’78 on the reverse, in fired enamel. A small unresolved device sits between the name and the year.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eTechnique\u003c\/td\u003e\n\u003ctd\u003eOverglaze mineral colour applied by brush and refired, with wiped tinted grounds on two of the three requiring separate firings. Not transfer-printed — no halftone screen, printed edge or repeat anywhere.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eBlanks\u003c\/td\u003e\n\u003ctd\u003eWhite porcelain with spiral-fluted rims rising to a scalloped edge, banded in platinum, with a plain recessed well\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eSubjects\u003c\/td\u003e\n\u003ctd\u003ePoppies with bud and lobed foliage on white; apple blossom on the branch over a blue, gold and green tinted ground; a mixed bouquet of poppies, cornflowers, daisies, lavender and yellow blooms over a tinted ground\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 8 in in diameter each\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1978, as signed and dated by the painter on the reverse of each plate. The date is written in the same green-black enamel as the painting and fired with it, not added afterwards. It places the group in the organised china-painting revival that spread across America from the 1960s, in which studio painters worked on purchased commercial blanks and signed their work on the face as a painter signs a painting.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. All three plates are intact with no chips, cracks, hairlines or restoration. The painted surfaces are strong and unfaded, with the colour sitting crisp in the glaze and no rubbing or loss to the brushwork. The platinum banding is bright and continuous with no wear breaks. Light surface marking to the reverse from stacking. No crazing found. Sold as a set of three. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eHand-painted china is the cheapest original art there is, and almost nobody treats it that way.\u003c\/p\u003e\n  \u003cp\u003eEvery one of these is a painting. Somebody drew those poppy stems with the hairs on them, mixed the colour, fired it three or four times, put her name on the front and her full name and the year on the back. A framed watercolour of the same competence costs several times what a plate does, purely because of what it is painted on.\u003c\/p\u003e\n  \u003cp\u003eSigned and dated is the rarer half. Most surviving china painting is anonymous — unsigned, or initialled so faintly it may as well be. To have the painter’s full name and the year fired into the reverse of all three is documentation, and documentation is what separates a decorative plate from a work with an author.\u003c\/p\u003e\n  \u003cp\u003eSo hang them. Three plates in a vertical run up a narrow wall, a tight cluster over a sideboard, or spaced along a picture rail — they do the work of a group of small framed botanicals, and the platinum edge gives each one its own frame already.\u003c\/p\u003e\n  \u003cp\u003eThe palette is the easy part. Coral, blue, lavender and soft green on white with a silver line sits against limewash, pale plaster, painted panelling or a dark wall equally well, and the platinum keeps it from reading fussy the way a gilt edge would.\u003c\/p\u003e\n  \u003cp\u003eThree is also the useful number. Odd groupings hang better than even ones, and three reads as a collection rather than as a leftover.\u003c\/p\u003e\n  \u003cp\u003eThey are perfectly usable at the table if you would rather — a dessert or salad size — and a plate that was painted by hand under a cake looks considerably better than one that was not.\u003c\/p\u003e\n  \u003cp\u003eOn care. If you use them, wash by hand in warm water with a mild detergent and dry at once. Never a dishwasher and never a microwave: overglaze colour sits on top of the glaze rather than under it, so harsh detergent dulls it over time, and platinum banding will arc in a microwave. Do not cut on them — a serrated edge will score the painted field.\u003c\/p\u003e\n  \u003cp\u003eOn hanging, use a coated spring hanger sized to the plate rather than an adhesive disc, and hook it over the foot rim rather than gripping the painted face.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48066655617129,"sku":"VE-1635","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/5BE5B189-F59F-4643-B99B-EF1772C189DE.jpg?v=1789537831"},{"product_id":"antique-george-jones-crescent-transferware-set-of-20-c-1893-1920","title":"Antique George Jones Crescent Transferware Set of 20, c. 1893–1920","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA twenty-piece part dinner service in cream earthenware, printed in black and built on a moulded shape rather than a plain one. The rim rises into a band of raised vertical lappets at the outer edge, steps down through a row of small blocks and a fine beaded ring, and then flattens to carry the printed border. That relief is the expensive part of a plate like this: a flat rim comes off a simple mould, and this one did not.\u003c\/p\u003e\n\u003cp\u003eThe printed band is a continuous scrolling vine carrying stylised roses and shell-shaped blooms, drawn fine enough that the line work still reads at arm's length. It sits in black against the cream, the two colours with nothing between them, which is why the pattern looks graphic rather than pretty.\u003c\/p\u003e\n\u003cp\u003eThe set comprises two dinner plates, eight larger plates, seven smaller plates, one square serving plate and two small bowls. The serving plate is the piece to notice: canted corners, an oval well, and a raised rococo shell-and-scroll cartouche standing proud at one edge, the only moment of real flourish anywhere in the service.\u003c\/p\u003e\n\u003cp\u003eCrazing runs through every piece. It is fine, even and overall, the kind that reads as a soft web across the glaze rather than as damage, and it is neither stained brown nor opened into lines.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eGeorge Jones opened a showroom in Stoke in 1856 and built the Trent Potteries around 1865. The firm became George Jones \u0026amp; Sons in 1873 when his sons came in, the works was renamed the Crescent Potteries in 1907, and the business traded until 1951. Jones is best known now for majolica, which is seriously collected and which his factory made at the very top of the English trade, and that reputation carries across the rest of the output. This is not anonymous Staffordshire.\u003c\/p\u003e\n\u003cp\u003eThe mark on the reverse is his: a crescent enclosing the GJ monogram, with CRESCENT above it, and ENGLAND and GEO. JONES \u0026amp; SONS beneath. No pattern name is printed.\u003c\/p\u003e\n\u003cp\u003eThat mark gives both ends of the date, which is unusual. ENGLAND begins appearing in British pottery marks from 1891, when American tariff law required imported goods to carry a country of origin, and the Crescent name starts appearing in George Jones marks from 1893. Both conditions have to hold, so 1893 is the earliest this can be. At the other end it reads ENGLAND rather than MADE IN ENGLAND, the longer form that becomes standard from around 1921, and it reads GEO. JONES \u0026amp; SONS with no Ltd. Those two are absences and carry a ceiling only, but they agree with each other. On that evidence it is offered as c. 1893 to 1920.\u003c\/p\u003e\n\u003cp\u003eThe technique is underglaze transfer printing. A design is engraved into a copper plate, inked, pulled onto tissue and laid onto the raw biscuit, then glazed over and fired, which puts the pattern permanently under the glaze where it cannot wear off. Black was the first colour the process used and stayed the most graphic, and combining it with a moulded relief rim is a deliberately costly piece of specification on what was meant to be an everyday service.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eAntique, offered as c. 1893 to 1920 on documentary mark evidence\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eGeorge Jones \u0026amp; Sons, Crescent Potteries, Stoke-upon-Trent, England\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eCrescent enclosing the GJ monogram, CRESCENT above, ENGLAND and GEO. JONES \u0026amp; SONS below. No pattern name printed\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eContents\u003c\/td\u003e\n\u003ctd\u003eTwenty pieces: two dinner plates, eight larger plates, seven smaller plates, one square serving plate, two small bowls\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eCream earthenware with a moulded relief rim\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eUnderglaze black transfer-printed border of scrolling vine, roses and shell blooms\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eNo chips, cracks or restoration found on inspection. Fine overall crazing throughout, even and unstained. Transfers crisp and unfaded on every piece. Light surface marking consistent with use.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eShipping\u003c\/td\u003e\n\u003ctd\u003ePacked and boxed as a lot; freight quoted separately\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eQuantity\u003c\/td\u003e\n\u003ctd\u003eOne set of twenty, as shown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eBlack on cream is the one antique china palette that does not read as antique china. Strip the colour out of a Victorian table and what is left is line and pattern, which is why these services sit comfortably in rooms where a floral service in pink and gold would look like an inheritance nobody wanted. It works against white plaster, against dark paint, against raw wood, and it photographs beautifully.\u003c\/p\u003e\n\u003cp\u003eThe crazing is part of the appeal rather than a concession. A century of it has put a soft web across the glaze that catches light the way old glass does, and it is the single clearest sign that a plate is what it says it is.\u003c\/p\u003e\n\u003cp\u003eTwenty pieces is enough to set a real table and enough to break up. Use the whole service, run the smaller plates as salad or dessert, hang a group of them on a wall, or put the square serving plate out on its own where the shell cartouche can do its work.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48072660779113,"sku":"VE-1650","price":1138.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/41A7FAF3-2243-4BE6-ACE5-0A2916E9E895.jpg?v=1789631710"},{"product_id":"vintage-theodore-haviland-clinton-porcelain-set-of-7-c-1936-1957","title":"Vintage Theodore Haviland Clinton Porcelain, Set of 7, c. 1936–1957","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eSeven pieces of American porcelain in a warm cream body: five plates and two rimmed bowls. The decoration is a continuous swag of blue flowers running the rim, forget-me-nots and small bellflowers carried on fine blue-grey stems that dip and rise around the circumference without repeating in an obvious way. A gilt line runs the outer edge and a second finer gilt line circles the well.\u003c\/p\u003e\n\u003cp\u003eThe palette is the reason to look. There are three blues doing the work, a deep one for the stems and the flower centres, a mid tone for the petals, and a pale one for the small bells, and they sit on cream rather than white, which is what keeps the whole thing warm instead of cold.\u003c\/p\u003e\n\u003cp\u003eThe porcelain is thin, even and translucent, and the plates ring when tapped. The glaze is bright and uncrazed throughout, which is unusual on a set of this age and is the single best thing about it.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe mark reads Theodore Haviland, New York, MADE IN AMERICA, Clinton. The Haviland story starts with David Haviland, a New York china importer who moved to Limoges in 1842 to manufacture porcelain specifically for the American market rather than buy it. It is one of the odder arrangements in ceramics, an American firm making French porcelain for Americans, and it worked for well over a century. Theodore Haviland, his son, established his own house in 1892, and the firm later added American production under the New York name.\u003c\/p\u003e\n\u003cp\u003eThat gives the date without inference. The Theodore Haviland New York and Made in America mark was in use from 1936 to 1957. The Clinton pattern itself is recorded at circa 1936 to 1961 and is long discontinued. Where those overlap is where this sits, so it is offered as c. 1936 to 1957, documented at both ends rather than argued from style.\u003c\/p\u003e\n\u003cp\u003eClinton is a restrained pattern by Haviland standards. The firm made thousands of patterns, a great many of them dense with roses and heavy gilding, and this one goes the other way: a single thin blue garland, two hairlines of gold, and a lot of empty cream. That is why it still reads as contemporary and why it sets a table without dominating it.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eVintage, offered as c. 1936 to 1957 on documentary mark evidence\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eTheodore Haviland, New York\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003ePattern\u003c\/td\u003e\n\u003ctd\u003eClinton, discontinued\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eTheodore Haviland New York in a cloud cartouche, MADE IN AMERICA, Clinton, printed in red and black on the reverse\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eContents\u003c\/td\u003e\n\u003ctd\u003eSeven pieces as photographed: five plates and two rimmed bowls\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003ePorcelain with blue transfer decoration and gilt banding\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, cracks or restoration found on inspection, and no crazing anywhere in the set. Gilding bright and essentially unworn. Light surface marking consistent with careful use.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eShipping\u003c\/td\u003e\n\u003ctd\u003ePacked and boxed as a lot; freight quoted separately\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eQuantity\u003c\/td\u003e\n\u003ctd\u003eOne set of seven, as shown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eBlue and white china is a crowded field and most of it shouts. This does not. The garland is thin enough to read as a line drawing rather than a pattern, the gold is two hairlines instead of a band, and the cream ground softens everything, so a table set with it looks composed rather than formal.\u003c\/p\u003e\n\u003cp\u003eSeven pieces is a useful number. It sets four with plates and leaves two bowls for serving, it works mixed into plain white, and it breaks up beautifully: a single plate on a stand, a group hung on a wall, or one bowl out on its own holding fruit or keys. And because the glaze is uncrazed, these can actually be used rather than only looked at.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48074319560809,"sku":"VE-1653","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/7903927D-DB3E-4D8B-8801-004A8BE6C7EF_4_5005_c.jpg?v=1789649765"},{"product_id":"vintage-signed-studio-pottery-house-candle-lantern-c-1965-1995","title":"Vintage Signed Studio Pottery House Candle Lantern, c. 1965–1995","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\u003cp\u003eA small house built out of flat clay slabs and glazed the colour of molasses. It stands under eight inches to the top of its chimney and it is a candle lantern, not an ornament: the windows are cut clean through the walls, the interior is open, and the chimney is hollow all the way down so the heat has somewhere to go.\u003c\/p\u003e\u003cp\u003eThe front is a gable with a rounded shoulder rather than a peak, and three openings run up it. The topmost is arched. The two below are rectangular and set one above the other with a thin bar of clay between them. Along each long side, tucked directly under the eaves, runs a row of four small square windows. The far gable carries two larger openings. Light from a single candle comes out of all of it at once, in a dozen directions, at a dozen different sizes.\u003c\/p\u003e\u003cp\u003eEvery opening was cut by hand with a blade while the clay was still soft. The proof is on the sills, where the tool pushed a small ridge of clay out and through as it came round, and the maker left it. The edges are not ruled and no two windows are quite the same width. The roof is one slab bent over the frame in a shallow barrel curve, with the ridge and the eave lines scored into it with a point.\u003c\/p\u003e\u003cp\u003eThe glaze is the other half of the object. It is an iron saturated brown that goes black where it pools in the recesses and breaks to amber, ochre and rust orange over every raised edge, corner and window frame, so that the architecture draws itself in colour. It ran heavily during the firing and gathered in the window sills as thick glossy pools. On the roof it thins over the scored lines and the ridges come up gold.\u003c\/p\u003e\u003cp\u003eThe glaze stops in a clean wiped line above the base, which is a separate square slab projecting slightly as a plinth. That slab is left raw: a white buff stoneware with the woven texture of the canvas it was rolled on still printed across it, a scatter of dark iron flecks in the body, and a brown blush where the glaze bled at the edge.\u003c\/p\u003e\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\u003cp\u003eThe signature is incised freehand into the raw base, four or five characters deep in the clay, cut while it was leather hard. Under raking light and enlargement it reads as something close to W E G A. That is offered as a reading and not as an attribution. The strokes are shallow and the canvas texture interferes with them, and no match for that mark has been found in the published studio pottery references or in a reverse image search of the piece itself, which returned nothing at all. It is a personal hand signature, not a factory stamp, and the work behind it is one of a kind.\u003c\/p\u003e\u003cp\u003eWhat the object itself establishes is more useful than the name. This is slab construction throughout: rolled sheets cut to size, joined at the corners, a bent roof, an applied chimney. It is the standard vocabulary of the American studio and community workshop, and it is entirely incompatible with factory production, which would have slip cast or press moulded this form in two halves and left a seam.\u003c\/p\u003e\u003cp\u003eThe dating rests on two pieces of positive evidence rather than on style. The first is the clay. The body is an evenly refined white buff stoneware with no coarse grog and no inclusions beyond a light scatter of iron, which is a commercially prepared bagged clay rather than a dug and processed one. The second is the firing. The glaze is fully melted, uniformly glossy and consistently oxidised over the whole piece, with no flashing, no carbon trapping and no reduction effects anywhere. That is an electric kiln. Bagged stoneware clay and the small electric kiln are together what put work like this into community studios, school programmes and home garages from the middle 1960s onward.\u003c\/p\u003e\u003cp\u003eThe glaze family gives a softer supporting note. An iron saturated slip glaze of this character is the type commonly built on Albany slip, the natural clay from the Hudson valley that supplied the American studio trade until the deposit closed in 1986, after which potters moved to prepared substitutes. Substitutes imitate it closely and iron glazes never went away, so this narrows nothing on its own and is not relied on here.\u003c\/p\u003e\u003cp\u003eThere is no manufacturer mark, no country of origin and no importer label. That is exactly what a one off studio piece looks like, since studio work is outside the marking regime entirely, and so it fixes nothing in either direction. The range given below is what the clay and the firing will honestly carry.\u003c\/p\u003e\u003ch3\u003eProduct Details\u003c\/h3\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1965–1995. Dated on construction and firing rather than on style. The commercially prepared white buff stoneware body and the fully oxidised, uniformly melted glaze of an electric kiln place the piece in the post war studio and community workshop era, which is the floor. The iron saturated slip glaze is of the Albany type, whose source deposit closed in 1986, which is supporting rather than determinative since substitutes followed it immediately. The absence of any factory or country of origin mark is what a one off studio piece looks like and sets no boundary of its own. A named attribution for the incised signature would narrow the range considerably\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eHouse form candle lantern with rounded gable, barrel roof and hollow chimney flue\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eWhite buff stoneware with an iron saturated brown slip glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eSlab built throughout. Rolled sheets cut and joined at the corners, bent roof slab with scored ridge and eave lines, applied chimney open to the interior, separate projecting base slab, all window openings cut freehand with a blade in the soft clay\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGlaze\u003c\/td\u003e\n\u003ctd\u003eGlossy treacle brown running to black in the recesses and breaking amber, ochre and rust orange over every raised edge and window frame. Heavy pooling in the sills. Wiped cleanly above the base\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eIncised hand signature on the unglazed base, four to five characters, reading approximately W E G A. Not identified. No factory stamp, mould number, label or country of origin\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOpenings\u003c\/td\u003e\n\u003ctd\u003eThree on the front gable, the uppermost arched. Two on the rear gable. Four small square windows under the eaves on each long side\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 5 in. square by 7.5 in. high to the top of the chimney\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. No chips, cracks or restoration found. Glaze intact and unworn with the runs, pools and thin spots of the original firing left as fired. Unglazed base carries light surface scratching and a few shallow drying lines in the clay, normal for a raw slab bottom. Interior unglazed and clean. Sits flat and stable\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\u003cp\u003ePut a tealight in it and turn the lamps down. A dozen openings at four different scales throw a pattern that moves on the wall behind it, and because the windows are hand cut and uneven the pattern never resolves into anything regular. It is the difference between a candle in a jar and a candle in a building.\u003c\/p\u003e\u003cp\u003eUnlit it holds its own as a small piece of sculpture. The glaze is doing real work here, running dark in the hollows and igniting gold on every edge, which is what makes an object this size read from across a room. It wants a dark surface under it, a walnut mantel, a slate hearth, a stack of books, somewhere the brown can go warm rather than disappear.\u003c\/p\u003e\u003cp\u003eOne of a kind, signed by the hand that built it, and small enough to go anywhere. For a shop it is the piece on the counter that people pick up.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67556067737705,"sku":"VE-1742","price":1094.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_2a774d34-31b8-4822-974e-c2b714d59e4d.jpg?v=1790560006"},{"product_id":"vintage-speckled-glaze-ceramic-lamp-with-gilt-frieze-c-1955-1975","title":"Vintage Speckled Glaze Ceramic Lamp with Gilt Frieze, c. 1955–1975","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\u003cp\u003eA tall ceramic table lamp in a dense speckled glaze, banded and friezed in gold, standing on a brass foot ring.\u003c\/p\u003e\u003cp\u003eThe form is a drawn out baluster. A stepped ringed base rises into a bell shaped lower body, pulls in through a collar, and then runs up in a long slender tapering neck to the socket. The proportion is deliberately attenuated, which is what gives the lamp its height without any bulk.\u003c\/p\u003e\u003cp\u003eThe glaze is an even white ground carried across the whole body and flooded with fine brown and tan speckle, dense enough to read as oatmeal from across a room and as individual flecks in the hand. It is glossy and unbroken.\u003c\/p\u003e\u003cp\u003eThe gold is where the work went. A frieze runs around the widest part of the lower body: a repeating band of palmettes, each set inside a scrolling tendril that links one to the next, drawn in burnished gold with fine dark linework inside each fan. Above and below it run pairs of plain gold bands, and further bands ring the collar, the foot steps and the neck. The gilding has the slightly uneven depth of applied gold rather than a printed transfer.\u003c\/p\u003e\u003cp\u003eThe shade is a cream swirl pleated drum, the fabric gathered on the diagonal all the way round, on a brass socket.\u003c\/p\u003e\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\u003cp\u003eNo maker mark, label or stamp is present, so nothing is attributed.\u003c\/p\u003e\u003cp\u003eThe decorative scheme is neoclassical. The repeating palmette caught in a running scroll is the anthemion, one of the oldest ornamental borders in the Western vocabulary, and it was revived continuously from the eighteenth century onward. Its presence says nothing about date on its own.\u003c\/p\u003e\u003cp\u003eWhat does date the lamp is the combination it sits in. A heavily speckled white glaze is a mid century ceramic effect, produced by spraying or flicking a contrasting slip or oxide over a white ground before glazing, and it was everywhere in American lamp and studio production of the post war decades. Pairing that speckle with applied gold banding and a turned brass foot ring is a specific mid century decorator formula, not an earlier one, and the tall attenuated baluster with a long plain neck is a shape that belongs to the same period.\u003c\/p\u003e\u003cp\u003eThe absence of a mark is unremarkable for lamp bodies of this kind, which were often supplied to assemblers who fitted the hardware, and it sets no boundary. A stamp under the base or on the socket would narrow the range considerably.\u003c\/p\u003e\u003ch3\u003eProduct Details\u003c\/h3\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1955–1975. Dated on glaze and construction rather than on the ornament, since the anthemion frieze has been revived continuously since the eighteenth century and carries no date of its own. The dense speckled white glaze, the applied gold banding and the turned brass foot ring together are a mid century decorator lamp formula, and the attenuated baluster with a long plain neck belongs to the same window. No maker mark, label or country of origin survives and nothing has been inferred from its absence\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eAttenuated baluster: stepped ringed foot, bell shaped lower body, collar, long tapering neck\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGlaze\u003c\/td\u003e\n\u003ctd\u003eGlossy white ground flooded with fine brown and tan speckle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eRunning anthemion frieze in burnished gold with fine dark linework, framed by paired gold bands, with further gold banding at the collar, foot steps and neck\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMounts\u003c\/td\u003e\n\u003ctd\u003eTurned brass foot ring, brass socket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eShade\u003c\/td\u003e\n\u003ctd\u003eCream swirl pleated drum shade, fabric gathered on the diagonal\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWiring\u003c\/td\u003e\n\u003ctd\u003eSingle socket. Not rewired. Have it checked by an electrician before use\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone found on the base, the body or the socket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 34 in. high overall by 14 in. across the shade\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. Ceramic sound with no chips, cracks or hairlines found and the glaze bright and unworn. Gilding largely complete and still burnished, with light thinning on the high points of the banding consistent with dusting over many years. Brass foot ring and socket with honest mellow patina. Shade clean with light toning, pleating intact and even. Stands square\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\u003cp\u003eHeight is what this lamp sells on. At around three feet it will light a room from a console or a sideboard rather than only lighting the table it stands on, and the slim neck means it takes up almost no visual space while doing it.\u003c\/p\u003e\u003cp\u003eThe speckle is the other argument. A plain white lamp goes invisible against a pale wall. A speckled one holds texture and reads as ceramic from a distance, and the warm brown flecks bring it into agreement with wood, leather and brass instead of fighting them.\u003c\/p\u003e\u003cp\u003eThe gold frieze lifts it out of the ordinary run of mid century lamps. Most have a band or two. This one has a proper drawn anthemion with linework inside every palmette, and that is the detail a designer notices.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67556951916649,"sku":"VE-1749","price":788.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_3ffc12f2-9237-45f3-8ade-5c631e641bc0.jpg?v=1790577644"},{"product_id":"vintage-hand-painted-ceramic-recumbent-tabby-cat-figure-c-1950-1990","title":"Vintage Hand Painted Ceramic Recumbent Tabby Cat Figure, c. 1950–1990","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA hand painted ceramic cat, modelled lying down with the forelegs folded under, the long tail brought forward around the flank, and the head up and turned slightly to one side as though something has just walked into the room.\u003c\/p\u003e\n\u003cp\u003eThe modelling is soft and rounded rather than sharp. The ears are pricked and set wide, the muzzle is short and blunt, and the face is where the painter spent the time: large round eyes outlined in black with a single dot of highlight left in each, a pink nose, and whiskers pulled across the cheeks in three quick dark strokes on each side.\u003c\/p\u003e\n\u003cp\u003eThe coat is painted freehand in ochre and soft brown over a cream ground, laid on in broad strokes that follow the body and break the way tabby markings do, with a darker saddle across the shoulders and hips. The chest, the paws and the tip of the tail are left cream. The insides of the ears are washed a pale pink.\u003c\/p\u003e\n\u003cp\u003eThe glaze is a satin rather than a high gloss, which keeps the brushwork readable and gives the coat a slightly chalky look in raking light.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe body is slip cast and hollow, and the decoration is painted by hand rather than transfer printed. That is legible in the strokes themselves: they vary in loading, one or two run a little past the form they were meant to follow, and the markings are not repeated symmetrically from one side to the other. A printed decoration does none of those things.\u003c\/p\u003e\n\u003cp\u003eNothing on the piece dates it in the documentary sense. There is no maker's mark visible, no registration number and no country of origin stamp, and an absence of that kind sets an outer limit rather than a starting point. Undated decorative wares of this sort were made across a very long span and by a great many hands.\u003c\/p\u003e\n\u003cp\u003eWhat the object itself will support is narrower. The cast body, the satin glaze rather than the bright hard gloss of earlier commercial earthenware, and the freehand painting over a plain ground together place it in the second half of the twentieth century and rule out the nineteenth. The range given below is set at that width deliberately rather than narrowed to sound more certain than the evidence allows.\u003c\/p\u003e\n\u003cp\u003eRecumbent cats of this scale belong to a long decorative tradition that runs from Staffordshire flatbacks through Continental faience to the studio and factory work of the last century. This one sits at the confident, well painted end of that line without claiming a named workshop.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1990. Dated from construction rather than from style alone. The slip cast hollow body, the satin glaze and the freehand overpainting place it in the second half of the twentieth century. No mark, registration number or country of origin stamp is visible, and that absence gives an outer limit only, which is why the bracket is left wide\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No mark visible\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRecumbent cat, forelegs folded, tail curled forward around the flank, head raised and turned\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSlip cast earthenware, hollow\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eHand painted. Ochre and brown tabby markings over cream, darker saddle across the shoulders and hips, cream chest, paws and tail tip, pink inner ears, black outlined eyes and drawn whiskers. Satin glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone visible\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 9 in. long by 5 in. deep by 7 in. high\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. No chips, cracks or restoration found. Glaze clean and unworn, painted detail crisp with no rubbing to the face or the markings. Light shelf wear consistent with age and display\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eAnimal figures are the easiest thing in the world to get wrong and this one is right. The proportions are observed rather than cartooned, the head turn gives it a direction to look in, and the painter drew the face instead of stamping it. That is the difference between a cat you keep and a cat you move to the back of a shelf.\u003c\/p\u003e\n\u003cp\u003eThe colouring is doing quiet work too. Ochre, brown and cream sit against almost any wood, any stone and any warm paint colour, so it can go on a mantel, a stack of books, a kitchen windowsill or a bedside table without having to be designed around.\u003c\/p\u003e\n\u003cp\u003eIt has scale on its side as well. At nine inches long it reads clearly across a room, which is more than can be said for the small figurines it will usually be shelved beside.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67557631721577,"sku":"VE-1753","price":254.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_83fe0774-f201-4cbb-ab06-18ed43215000.jpg?v=1790581916"},{"product_id":"vintage-pink-boudoir-lamp-rose-trimmed-fringed-shade-c-1950-1975","title":"Vintage Pink Boudoir Lamp, Rose Trimmed Fringed Shade, c. 1950–1975","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small boudoir lamp with a rose pink ceramic base and a bell shaped shade trimmed with silk fringe and two applied clusters of ribbon roses.\u003c\/p\u003e\n\u003cp\u003eThe base is a long drawn teardrop, narrow at the neck and swelling low to a rounded foot, glazed in a warm rose pink with a fine speckle fired through it that keeps the colour from going flat. The form is entirely plain. There is no moulding, no banding and no gilding, which is what lets the shade carry the piece.\u003c\/p\u003e\n\u003cp\u003eThe shade is a bell in a soft cream linen, gathered at the top into a narrow braided gimp and finished at the lower edge with a corded gimp above a deep cream silk fringe cut long enough to swing.\u003c\/p\u003e\n\u003cp\u003eTwo trims are applied to the shade at the shoulder, each a hand assembled cluster of pink ribbon roses with sprays of small white blossom and a loop of narrow satin ribbon tied into a bow with the tails left loose. They are millinery work rather than glued on decoration, and they are the reason this lamp looks made rather than bought.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eBoudoir lamps are a distinct form with a real history. They were made small on purpose, to stand on a dressing table, a night stand or a vanity where a full sized lamp would crowd the surface, and they were sold as a furnishing rather than as a light source. The fringe, the silk and the applied trims all belong to that intention.\u003c\/p\u003e\n\u003cp\u003eThe evidence here is in the making rather than in a mark. The base is a plain cast ceramic form with a speckled glaze of the kind produced in quantity by American potteries in the middle decades of the last century. The shade is a stitched fabric bell on a wire frame with gimp applied by hand, and the two rose clusters are assembled from ribbon and stamen blossom in the same way a hat trim was assembled.\u003c\/p\u003e\n\u003cp\u003eNo maker's mark is visible and no shade label survives. An absence of that kind sets an outer limit and not a starting point, so the range below is deliberately given at the width the object supports.\u003c\/p\u003e\n\u003cp\u003eWorth saying plainly: the trims may well have been added by a previous owner rather than fitted at the factory. That is common on lamps of this type and it is not a fault. It is the part that makes this one different from the next one.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1975. Dated from construction. The plain cast teardrop base with a speckled pink glaze, the wire framed fabric bell shade, and the hand applied gimp and silk fringe are all features of mid century American boudoir lighting. No mark or shade label is present, and that absence gives an outer limit only\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No mark found\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eBoudoir or vanity lamp. Drawn teardrop ceramic base, single socket, bell shade\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eRose pink speckled glaze. Cream linen bell shade with braided gimp at the top, corded gimp and deep silk fringe at the lower edge, and two applied clusters of pink ribbon roses with white blossom sprays and satin bows\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone visible\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 8 in. across the shade by 16 in. high overall\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. Glaze clean with no chips, cracks or crazing found. Shade clean and true on its frame with the gimp secure, the fringe full and untangled, and the rose clusters firmly attached with no loss to the blossom. Light age tone to the cream fabric. Wiring appears original and has not been tested. Inspection or rewiring by a qualified electrician is recommended before use\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the lamp for the corner of a room that has run out of ideas. It is small enough for a nightstand that already holds a book and a glass, and it gives the low pooled light that makes a bedroom feel finished rather than lit.\u003c\/p\u003e\n\u003cp\u003eThe fringe earns its keep. A fringed shade breaks the light into a soft edge instead of a hard circle, and on a low table that difference is the whole effect.\u003c\/p\u003e\n\u003cp\u003eThe rose trims are what a buyer will remember. Pink ribbon, white blossom and a loose satin bow are unapologetically romantic, and against a plain painted wall or an old mirror they read as charm rather than clutter. Good for a guest room, a dressing table, a powder room shelf, or a cottage bedroom that wants one pretty thing in it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67557710397545,"sku":"VE-1755","price":499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_ea7111b6-b142-45eb-afc8-6d9777ecbe0a.jpg?v=1790582126"},{"product_id":"antique-trailed-slip-lidded-crock-in-green-and-cream-c-1900-1940","title":"Antique Trailed Slip Lidded Crock in Green and Cream, c. 1900–1940","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA low lidded crock in cream and deep green, decorated all over with fine trailed threads of slip laid on in a loose random web.\u003c\/p\u003e\n\u003cp\u003eThe body is a straight sided cylinder that steps out near the foot into a broad flared base, which gives a small vessel an unexpectedly architectural profile. The rim is flanged to take the lid, and the whole of the outside and the inside carries the same treatment: a clear cream ground with thin green lines trailed across it in long looping runs that cross, double back and trail off wherever the hand lifted.\u003c\/p\u003e\n\u003cp\u003eThe interior is where the decoration is densest. Seen from above it reads almost as a drawing, dozens of green threads laid over a warm ivory ground, pooling slightly where the glaze ran thicker.\u003c\/p\u003e\n\u003cp\u003eThe lid reverses the scheme and that is the cleverest thing about the piece. It is a deep bottle green with the same web trailed over it in white, domed, radially ribbed around the underside edge, and finished with a plain cylindrical knob. Set on the pale body it reads as a lid from a different object, which is exactly the effect the maker wanted.\u003c\/p\u003e\n\u003cp\u003eThe glaze is glossy and crazed throughout in a fine, tight, even net, with the craze lines darkened where decades of handling have worked dirt into them. The foot ring is left unglazed and shows a soft buff earthenware body.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eTrailed slip is one of the oldest decorative techniques in pottery and one of the hardest to fake convincingly, because the line records the speed of the hand that made it. Here the threads vary in thickness along their length, they overlap without hesitation, and they run off the edge rather than stopping neatly, which is what a trailer held over a turning pot does and what a printed or stencilled imitation never does.\u003c\/p\u003e\n\u003cp\u003eThe reversed colourway between body and lid is a deliberate design decision rather than a mismatch. Both carry the same web in the same hand at the same scale, one green on cream and one white on green, and the lid seats correctly on the flange. They were made for each other.\u003c\/p\u003e\n\u003cp\u003eThe dating rests on the fabric rather than on any mark. The body is a soft buff earthenware, not stoneware and not porcelain, visible where the foot ring is left unglazed. The glaze is a glossy lead type crazed in a fine even net across every surface, and the craze lines are darkened throughout with worked in dirt. Crazing of that density and that degree of staining is decades of use, not years.\u003c\/p\u003e\n\u003cp\u003eNo maker's mark, impressed number or backstamp is present. The base is glazed to a plain cream with only the unglazed foot ring showing. An absence of that kind sets an outer limit rather than a starting point, so the range below is drawn wide.\u003c\/p\u003e\n\u003cp\u003eComplete lidded vessels of this age are worth pausing over for a dull reason: the lid is almost always the thing that went. Finding one still with its own cover, correctly seated and decorated to match, is the uncommon part.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1900–1940. Dated from fabric and surface rather than documentation. A soft buff earthenware body visible at the unglazed foot ring, a glossy glaze crazed in a fine even net across every surface, and craze lines darkened throughout with worked in dirt, which is decades of use. The decoration is hand trailed slip, recorded in the varying thickness and the run off at the edges. No mark, number or backstamp is present, and that absence gives an outer limit only\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No mark found\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eLow lidded crock. Straight sided body stepping out to a flared foot, flanged rim, domed lid radially ribbed beneath the edge with a cylindrical knob\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed earthenware, buff body\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eHand trailed slip in a loose random web. Green threads on a cream ground over the body inside and out, reversed to white threads on a deep green ground on the lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 7 in. diameter by 3.5 in. high at the body, 5 in. high overall with the lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. Both parts present and correct, lid seating properly on the flange. No chips, cracks or restoration found to body or lid. Fine even crazing throughout with age darkening in the craze lines, original to the glaze and not damage. Light wear to the unglazed foot ring. Offered uncleaned\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThe two tone scheme is the whole argument. A pale crock with a bottle green lid reads as a considered pairing rather than a single object, and it will carry a shelf on its own without needing anything grouped around it.\u003c\/p\u003e\n\u003cp\u003eThe trailed web rewards close looking in a way most decorated pottery does not. From a few feet it is texture. From arm's length it is a drawing made in about fifteen seconds by somebody who had done it ten thousand times.\u003c\/p\u003e\n\u003cp\u003eIt is also usable. Sugar, salt, garlic, tea, coffee beans, hair pins, cotton wool, small change by a door. The flanged rim means the lid stays put rather than sliding off, and at this diameter a hand goes in easily.\u003c\/p\u003e\n\u003cp\u003eGreen and cream is one of the easiest pairs in the house. It sits against oak, pine, painted cabinetry, marble and old plaster, and it belongs equally in a farmhouse kitchen, a cottage bathroom or a modern counter that wants one warm old thing on it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67558833913961,"sku":"VE-1769","price":289.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_26a0889b-bdf9-4f83-bcd9-cccbd54148e5.jpg?v=1790594896"}],"url":"https:\/\/viridianeclection.com\/collections\/ceramics.oembed?page=2","provider":"Viridian Eclection","version":"1.0","type":"link"}