{"title":"New Arrivals","description":null,"products":[{"product_id":"eagle-claw-packit-spin-fly-combination-pack-rod-wright-amp-mcgill-co-denver-honey-fiberglass-c-1975","title":"Eagle Claw \"Packit\" Spin\/Fly Combination Pack Rod, Wright \u0026amp; McGill Co. Denver, Honey Fiberglass, c. 1975","description":"\u003ch4 dir=\"ltr\"\u003eThe Piece\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eA four-piece travel rod in honey-gold fiberglass, built by Wright \u0026amp; McGill in Denver and marked on the blank the way rods were marked when the marking was done by hand: \u003cem\u003eEagle Claw \"Packit\" — No. PKRR149 — 7½ FT. (229cm) — Spin\/Fly Combination — Line Size 7\u003c\/em\u003e, with the company's eagle-and-claw device struck just ahead of the grip.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt's a convertible. Break it down and rebuild it one way and you have a 7½-foot fly rod rated for a 7-weight line; rebuild it the other and you have a light spinning rod. That was the whole idea — one rod that came apart short enough to ride in a pack or a trunk and covered whatever water you found at the end of the drive.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe details are the reason to look twice. Chestnut thread wraps at every ferrule and guide foot, still tight. A knurled brass reel seat with the warm, unpolished bloom that brass only gets from being handled. And a long cork foregrip that has darkened unevenly across decades of grip and river water — the pits and the shading are the record of it. The spinning reel it's paired with came to us on the rod and stays with it.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eHistory \u0026amp; Provenance\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eWright \u0026amp; McGill was founded in Denver in the late 1920s by Stan Wright and Drew McGill, first as a fly-tying house. The company's fortune turned on a single idea: McGill, fishing the Upper Colorado, reshaped a hook point into an inward curve modeled on an eagle's talon — the first meaningful improvement to the fish hook in centuries, and the origin of the Eagle Claw name that's still on the blank.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBy the postwar years the company was building rods as well as hooks, and the pack rod became a Denver specialty. Wright \u0026amp; McGill's Trailmaster series had made the multi-piece spin\/fly convertible famous with backcountry anglers through the 1950s and '60s; the \"Packit\" carried that idea forward into the fiberglass era for the generation that fished out of a station wagon. This one is stamped \u003cstrong\u003eDenver, Colorado, U.S.A.\u003c\/strong\u003e — from the years when it was still made there.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eProduct Details\u003c\/h4\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eConvertible spin\/fly pack rod with paired spinning reel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eWright \u0026amp; McGill Co.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eDenver, Colorado, U.S.A.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eModel\u003c\/td\u003e\n\u003ctd\u003eEagle Claw \"Packit,\" No. PKRR149, 7½ ft. (229 cm)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eMulti-piece takedown blank, cork foregrip, knurled brass reel seat\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eTubular fiberglass, cork, brass, chestnut thread wraps\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eLine Rating\u003c\/td\u003e\n\u003ctd\u003eFly line size 7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1975–1985\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and complete, with honest wear throughout — darkening and surface pitting to the cork grip, light patina to the brass and reel, wraps intact. Displays beautifully and remains functional. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003ch4 dir=\"ltr\"\u003eWhy It Belongs in Your Home\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eHoney-gold glass against a dark wall is one of the quietest good decisions you can make. Stood in the corner of a study, laid across a pair of iron brackets above a doorway, or leaned beside a stone fireplace, this rod reads as line and warmth — a long amber stroke that softens a room full of hard edges.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt works because it isn't decorative. Someone chose this rod for the specific reason that it would fit in a pack, and then used it enough to wear the cork down unevenly. That's the kind of object that anchors a room: not staged, just kept. It belongs in a cabin, a lake house, a wood-paneled office, or anywhere you want a little Colorado on the wall.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47968332054633,"sku":null,"price":189.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3170.jpg?v=1788170160"},{"product_id":"vintage-handcrafted-indian-folk-art-bell-hanging-in-reclaimed-iron","title":"Vintage Handcrafted Indian Folk-Art Bell Hanging in Reclaimed Iron","description":"\u003cp\u003e\u003cspan\u003eThe entire piece was handmade in India from reclaimed materials:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003eBells formed from recycled tar drums\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eFrame made from salvaged wrought-iron bars\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eBased on traditional agricultural bells used to protect crops and locate wandering livestock\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eIndividually handcrafted in small Indian villages\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eOriginal provenance\/story tag remains attached\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47975444021353,"sku":null,"price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG-1423.jpg?v=1788305741"},{"product_id":"vintage-binaural-diaphragm-stethoscope","title":"Vintage Binaural Diaphragm Stethoscope,","description":"","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47975447396457,"sku":null,"price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/CB6216B7-B549-4E11-8071-16573278261E.jpg?v=1788306592"},{"product_id":"carved-wood-box","title":"Carved Wood Box","description":"","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47975453425769,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG-1424.jpg?v=1788307150"},{"product_id":"vintage-miami-nights-flamingo","title":"Vintage Miami Nights Flamingo","description":"","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47975462502505,"sku":null,"price":120.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG-1426.jpg?v=1788307759"},{"product_id":"american-oak-writing-desk-amp-side-chair-quartersawn-golden-oak-c-1910-1930","title":"American Oak Writing Desk \u0026amp; Side Chair, Quartersawn Golden Oak, c. 1910–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA compact single-pedestal desk and its chair, sold together the way they were used.\u003c\/p\u003e\n\u003cp\u003eThe desk is quartersawn oak at a scale that makes it useful now — narrow enough for a hallway, deep enough to actually work at. Three drawers stack on the right pedestal, two still carrying their original brass keyhole escutcheons, each faced with an applied rectangular pull cut from the same oak as the front. Above them, hidden until you want it, a full pull-out writing slide extends the work surface by most of a foot — the detail that separates a real desk of this period from a table with drawers. The kneehole is open and unpaneled, the apron plain, and the legs are square and gently tapered, with the ray flake of quartersawn oak running up their faces in that flecked, tiger-striped figure that only shows when the log is cut on the quarter.\u003c\/p\u003e\n\u003cp\u003eThe chair is the right chair, which matters more than it sounds. Solid oak, with a saddle-scooped plank seat, a shaped crest rail, splayed rear legs, and a bentwood arch bracing the front — a factory side chair from the same decade and the same golden-oak vocabulary. The seat has worn down to a soft sheen in the middle and the grain has raised slightly around it. Somebody sat here for years.\u003c\/p\u003e\n\u003cp\u003eBoth pieces carry the warm golden tone that gives the period its name, worn through where hands and papers went and dark where they didn't.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eBetween roughly 1900 and 1930, American factories in Grand Rapids, Rockford, and Jamestown turned out oak desks like this one by the tens of thousands — for schoolrooms, boarding houses, back offices, and the corner of a bedroom where a family kept its correspondence. Quartersawn oak was the standard because it was hard, it resisted warping, and the cut exposed the medullary rays as a decorative figure without any carving required.\u003c\/p\u003e\n\u003cp\u003eThe desk carries the transitional vocabulary of the moment: the tapered leg and unornamented apron of the Arts and Crafts reform applied to a form that was still, underneath, a Victorian office desk. The chair belongs to the same world — the plank-seat side chair was the default seat of American working rooms for thirty years.\u003c\/p\u003e\n\u003cp\u003eNeither piece carries a surviving maker's stamp, which is ordinary for the type. Most left the factory with a paper label glued under a drawer or beneath a seat and lost it within a decade. What matters here is that the two have stayed together, and pairs that have stayed together are far less common than either piece alone.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth\u003eField\u003c\/th\u003e\n\u003cth\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eWriting desk with pull-out slide, and matched side chair — sold as a set of two\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm — Desk\u003c\/td\u003e\n\u003ctd\u003eSingle right pedestal, three drawers, open kneehole, square tapered legs, plain apron\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm — Chair\u003c\/td\u003e\n\u003ctd\u003eSaddle-scooped plank seat, shaped crest rail, splayed rear legs, bentwood front arch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eQuartersawn oak, golden oak finish, brass keyhole escutcheons\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo maker's mark located on either piece\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1910–1930\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eBoth pieces structurally sound and ready to use. Desk: honest surface wear to the top including ring marks and darkened spots, scattered nicks to edges and legs, finish worn on the writing slide; drawers run smoothly; original hardware. Chair: seat worn smooth through the center with slightly raised grain, joints tight. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThe reason to buy a desk this size is that it fits where a desk shouldn't. Under a window in a bedroom, against the long wall of an entry as a console with drawers that actually hold things, in a guest room that has to double as an office two weeks a year — a full-size desk kills all three of those rooms and this one doesn't.\u003c\/p\u003e\n\u003cp\u003eBuying it with the chair solves the harder problem. A desk alone sends you looking for a seat that won't fight it, and almost everything modern does: wrong height, wrong wood, wrong century. This chair was made for this scale, sits at the right height, and stows fully under the top when you're not using it. Pull it out and the corner becomes a workspace; push it in and it reads as a console with a chair beside it.\u003c\/p\u003e\n\u003cp\u003eIt's oak, so it goes with everything old and most things new. Against a dark wall the pair reads warm; against cream it recedes and lets whatever's above it do the talking.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eSame two notes as before on the photography: these are booth shots with the fence controller, the toaster, and the basket in frame. Before it goes up, re-shoot at 3:4 against neutral ground — the pair together straight on, the chair alone, a leg detail showing the ray flake, the brass escutcheons, and the slide pulled out. The slide shot and the pair-together shot are the two that sell it.\u003c\/p\u003e\n\u003cp\u003eWant me to build the PDP layout page for this one, or keep moving through the write-ups?\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47977970335849,"sku":null,"price":798.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3239.jpg?v=1788347946"},{"product_id":"federal-revival-bow-front-nine-drawer-triple-dresser-mahogany-refinished-in-sedona-red-c-1940-1955","title":"Federal Revival Bow-Front Nine-Drawer Triple Dresser, Mahogany Refinished in Sedona Red, c. 1940–1955","description":"\u003cdiv role=\"feed\"\u003e\n\u003cdiv role=\"article\" tabindex=\"-1\"\u003e\n\u003ch4 dir=\"ltr\"\u003eThe Piece\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eA nine-drawer bow-front dresser in the Federal Revival manner, and the finish is the reason to look at it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe case has been refinished by hand in Sedona Red — a deep, warm terracotta with real depth to it, not a flat painted surface — and the top has been swirled and figured to read as burl. Stand at the end of it and the movement runs the length of the board in long ribboned waves. It's a technique, not an accident, and it does something a straight stain can't: it gives a mass-produced 1940s case piece the surface presence of a much more expensive one. The original wood tone has been left in place along the lower section, so the piece grades from red at the top down into warm brown at the base — a deliberate two-tone that keeps all that color from going heavy.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnderneath the finish, the form is the good one. A serpentine bow front sweeps across both drawer banks. Rope-twist pilasters run the corners. A carved shell centers the shaped skirt, and the whole case lifts on splayed French feet, which is what keeps a piece this wide from sitting on a room like a wall. Nine drawers — four and four flanking a small center drawer with a ring pull — all with their original brass swan-neck bails. The drawers run on wood and open to clean, honey-colored mahogany interiors, the top one fitted with a shaped oval divider.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eRestored by Walter Hinchman for The Hinchman Collective.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eHistory \u0026amp; Provenance\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eFrom about 1935 through the mid-1950s, American factories — Dixie, Bassett, Kling, Rway and dozens of others working in the same idiom — produced mahogany bedroom suites in what the catalogs called the Duncan Phyfe or Federal style: bow fronts, reeded and rope-twist columns, carved shells, brass bail hardware, French feet. It was the aspirational furniture of the American middle class, sold as a suite and bought once.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThey were built well, in solid mahogany and mahogany veneer with dovetailed drawers, and they survived in enormous numbers — which is exactly why they've been undervalued for two decades. There's nothing wrong with the cabinetwork. What dated them was the finish: acres of identical reddish-brown mahogany stain, in every house, all at once.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThat's the problem this piece solves. The bones are period and correct; the surface is new work. The Sedona Red and the swirled burl treatment take a form most people have stopped seeing and make it legible again.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eProduct Details\u003c\/h4\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eNine-drawer bow-front triple dresser\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSerpentine bow front, rope-twist pilasters, carved shell skirt, splayed French feet\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eMahogany case and drawer fronts, hardwood secondary, original cast brass swan-neck bails\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eRefinished in Sedona Red with hand-swirled burl figure to the top; original wood tone retained at the base\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eRestoration\u003c\/td\u003e\n\u003ctd\u003eRestored by Walter Hinchman, The Hinchman Collective\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo maker's mark located\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1940–1955\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent, refinished and ready to place. All nine drawers run smoothly with clean interiors; original hardware retained; minor age-consistent marks to the case. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003ch4 dir=\"ltr\"\u003eWhy It Belongs in Your Home\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eNine drawers across five feet is a rare amount of storage in a piece that still looks like furniture rather than a wall of cabinets. In a bedroom it ends the dresser-plus-armoire problem in one object. Out of the bedroom it's better still: this is a dining room sideboard, an entry console with a lamp at each end, or the long piece under a television that finally isn't a black rectangle.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAnd it's a color decision, which is the actual reason to buy it. Most large case goods ask you to build the room around a neutral. This one arrives as the warm note — terracotta against cream walls, against white oak floors, against a dark green wall if you're brave. Hang a mirror or a large piece of art above it and stop decorating; the dresser has already made the statement.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47977973514345,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3232.jpg?v=1788348743"},{"product_id":"pair-of-sunburst-spring-steel-garden-armchairs-in-the-manner-of-francois-carre-french-art-deco-c-1930-1940","title":"Pair of Sunburst Spring-Steel Garden Armchairs in the Manner of François Carré, French Art Deco, c. 1930–1940","description":"\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eThe Piece\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eTwo armchairs built entirely out of tension. Flat spring-steel bands radiate from a pierced cast rosette at the center of each seat and each back, fan outward, and rivet to a heavy rolled rim — so the seat has no upholstery, no cushion, and no rigid pan. It flexes under you. Sit down and the whole sunburst gives about an inch and then holds. That's the entire idea, and it's the reason people who own these never get rid of them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe frames are bent rod: a continuous loop forms each flat strap arm and carries down into splayed legs that finish in small ball feet. The back reads as a full circle, which is what makes them photograph the way they do — from any angle you get two concentric wheels, one horizontal and one vertical, throwing radial shadows across whatever they're standing on.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBoth wear an older white paint, worn through in places to the metal beneath, with light surface oxidation at the rim. Structurally they're sound and the springs have kept their tension.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eHistory \u0026amp; Provenance\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eThe sunburst spring chair is a mid-nineteenth-century French invention. Félix Carré was producing them in Paris by the 1850s — by 1865 the design was being written about as a revolution in seating — and he filed a U.S. patent in 1866. After his factory changed hands the form spread across Europe and America, produced by Val d'Osne, by Schlesinger Wiessener \u0026amp; Co. in Vienna and New York, and by other makers into the 1950s.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe version most collectors know, and the one this pair belongs to, is the French interwar iteration sold under the François Carré name: heavier gauge, deco proportions, the full-circle back. Genuine period examples come from France; close contemporaries were also made in Germany, and the two are often indistinguishable once repainted.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThese are unmarked, which is ordinary — original stamps and small oval plaques sit on the underside of the seat rim and rarely survive a repaint. They're catalogued here in the manner of Carré rather than attributed outright. From the personal collection of Walter Hinchman, acquired approximately fifteen to twenty years ago and held since.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eProduct Details\u003c\/h4\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePair of garden armchairs, sold as a set of two\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eFrench or Continental European\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eCircular sunburst back and seat, pierced cast center rosettes, bent-rod loop arms, splayed legs with ball feet\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSpring steel bands, rolled steel rim, riveted construction, painted finish\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked; in the manner of François Carré\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930–1940\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eStructurally sound with good spring tension throughout. Older white paint with chips and wear to bare metal; light surface oxidation at the rim-to-slat junctions, the expected wear point on this construction. Both chairs sit level and stable. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003ch4 dir=\"ltr\"\u003eWhy It Belongs in Your Home\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eMost garden furniture is a compromise you accept because the alternative is nothing. These aren't. They're good enough to bring inside, and plenty of people do — flanking a fireplace, at the ends of a dining table where you want something lighter than more upholstery, in an entry, in a sunroom where the light can get through them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOutdoors they do the thing metal furniture almost never does: they disappear into the planting instead of blocking it. You see through the sunburst to whatever is behind it. Put them on gravel under a tree and by afternoon the shadows are doing more work than the chairs.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThey're also comfortable, which surprises people. Spring steel is a suspension system. It's the same reason a well-made metal café chair beats a teak one you have to cushion.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOne care note worth passing to the buyer: the junction where the spring bands meet the rim is where these fail, and the fix is simply to keep them dry — under cover in winter rather than out in it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47977984950377,"sku":null,"price":6890.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3228.jpg?v=1788349236"},{"product_id":"pair-of-paneled-cupboards-hand-stripped-layered-paint-with-kraemmerhus-decalcomanias-c-1930-1945","title":"Pair of Paneled Cupboards, Hand-Stripped Layered Paint with Kræmmerhus Decalcomanias, c. 1930–1945","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eTwo cupboards, sold together, each 58 inches high, 42 inches wide, and only 12 inches deep. Plain pre-war frame-and-panel casework: two recessed-panel doors meeting at a center stile, a stepped cornice applied across the top, three fixed shelves within, an open back. The hardware is original throughout — nickel bar latches at the closure, cast turn-buttons set into the corners of each door frame, surface-mount hinges worn smooth at the knuckle.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe surface is the reason these are here. Beneath a later coat of black lay butter yellow, and beneath that chalk white, and beneath that a thin seam of pale aquamarine still visible in the panels. Every inch of that black was taken back by hand — scraper and steel wool, no chemical stripper, no sanding to bare wood — which is why it survives exactly where it earned the right to: in the open grain, banked along the panel shadows, caught in the moldings. What's left doesn't behave like a painted finish. Yellow comes forward in broad fields, white scrapes across it in short strokes, black runs the length of the grain in long gestural drags. From six feet away the doors read as canvases.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe sides were left quiet — a flat cream field with a soft charcoal edge — so the pair holds a wall without competing for it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBuilt into a private Reno residence in 1939 and never moved from it until this year. Everything about the construction is site-built and of its moment: softwood, frame-and-panel doors, fixed shelves, catalog hardware, an open back because no one was meant to see it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe find came during the stripping. Working the black off one of the left-hand doors by hand, two decalcomanias surfaced intact — a \u003cstrong\u003ekræmmerhus\u003c\/strong\u003e, the Danish cornucopia, and a small folk figure standing beneath it. The kræmmerhus is the folded paper cone filled with sweets and hung on the tree at Christmas, a Danish custom documented since the early nineteenth century and carried to America by Scandinavian households. Transfer decals of the motif were sold through the 1930s and '40s by makers like Meyercord and Duro, a few cents a sheet, and applied to exactly this kind of working cupboard. Almost none survived the next repaint. These did, buried under three coats, and they were left precisely as found — faded into the yellow, barely there, and all the better for it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFrom the Hinchman Collection. Stripped and finished by hand by Walter Hinchman, 2026.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePair of paneled cupboards, sold as a set of two\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eReno, Nevada — house-original to a 1939 private residence\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003e58\" H × 42\" W × 12\" D each; two recessed-panel doors per cabinet, three fixed shelves, stepped applied cornice, open back\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid softwood, frame-and-panel construction; original nickel bar latches, cast corner turn-buttons, surface-mount hinges\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eHand-stripped layered paint — black over butter yellow, chalk white, and pale aquamarine; original kræmmerhus and folk-figure decalcomanias to one door\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked; site-built cabinetry\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930–1945\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eStructurally sound, square, and ready for daily use. Doors open and latch, all six shelves intact, both cabinets sit level. Surface intentionally preserved in its hand-stripped state — chips, scrapes, exposed grain, and residual overpaint are original to the piece and are the point of it. Backs open as built. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMost abstract art in a room arrives framed and hung. This arrives holding your linens.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eRun the two side by side and you have seven feet of storage that behaves like a single large-scale painting — enough presence to settle a room before a decorative object goes into it. Separate them and they flank a doorway, a fireplace, or a bed with the symmetry of built-ins and none of the commitment. The 12-inch depth is what makes them unusually usable: they take almost nothing from the floor, so they'll fit a hallway, a narrow pantry, or the wall behind a dining table where a full-depth cupboard would crowd the room. Six shelves between them is a serious amount of storage for that footprint.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe palette does quiet, generous work. Warm yellow and cream sit easily against white plaster, oak floors, and unbleached linen, and the black keeps the whole thing from tipping into soft or nostalgic. These aren't farmhouse. They're closer to a canvas that happens to have doors.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOne care note worth passing along: the stripped paint is the finish, so it wants dusting rather than washing. A dry cloth, a little wax on the cornice if you want the sheen, and no wet cleaners or solvents on the door faces — the remaining black sits thin on the high points and will lift. The open backs allow these to hang from a French cleat or stand freely against a wall, whichever the room calls for.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47997318889577,"sku":null,"price":3425.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3331.jpg?v=1788505566"},{"product_id":"stansberry-construction-advertising-memo-roll-dispenser-enameled-steel-with-chrome-fittings-reno-nevada-c-1965-1975","title":"Stansberry Construction Advertising Memo Roll Dispenser, Enameled Steel with Chrome Fittings, Reno Nevada, c. 1965–1975","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA desktop memo dispenser in pressed steel, finished in the deep avocado enamel that dates it precisely to its decade. The body is a shallow tray with a hinged upper flap; a chrome-plated bar spans the back on two riveted ears to carry the paper roll, and a knurled chrome thumbscrew at the side sets the drag. Lift the flap and you find the working end of it — a black rubber feed roller riding a polished steel shaft, and a long tear slot cut into the base plate. Paper came off the roll, under the roller, out through the slot, and you snapped it off against the lip.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe enamel is glossy and largely unblemished, the chrome bright, the rubber roller still supple. It's a small object with an unusual amount of engineering in it: everything is riveted, nothing is molded, and the whole mechanism works exactly as designed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAcross the front flap, in the tight sans serif of a printer's advertising specialty run:\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eSTANSBERRY CONSTRUCTION · 755 Forrest St. — Reno, Nevada · Phone 322-—\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAdvertising specialties like this were the mid-century contractor's business card: ordered by the gross, imprinted with a name and a telephone number, and left on the desks of architects, suppliers, and clients who would look at that name every time they wrote a note. The dispenser was chosen because it earned its place — a roll of paper is more useful than a calendar, and it stayed on the desk for years.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe imprint dates it on its own. The number is given as a prefix and four digits with no area code, the convention in Reno before area-code dialing became standard, and the avocado enamel belongs squarely to the late 1960s and early 1970s. 755 Forrest Street sits on Reno's west side, a few blocks off the river — a working contractor's address rather than a showroom one.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eStansberry Construction left no monument to itself. What survives is this, in a shop in the city it was built for.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eDesktop advertising memo roll dispenser\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eReno, Nevada — advertising specialty for Stansberry Construction, 755 Forrest Street\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003ePressed-steel tray with hinged flap, chrome roll bar on riveted ears, knurled tension screw, rubber feed roller, tear-off slot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eEnameled pressed steel, chrome-plated steel, rubber, riveted construction\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eImprinted \"STANSBERRY CONSTRUCTION · 755 Forrest St. — Reno, Nevada · Phone 322-—\"\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1965–1975\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent working order. Flap opens and closes cleanly, roller turns freely, thumbscrew engages. Original avocado enamel with high gloss and only minor handling marks; chrome bright throughout; rubber roller supple. Paper roll not included. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eLocal advertising is the most honest record a city keeps of itself. A building gets torn down, a company folds, a phone exchange is retired — and the only thing left carrying the name is the object somebody thought was too well made to throw away.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOn a desk it does what it always did: it holds a roll of paper and it looks like something. The avocado reads beautifully against walnut, brass, and warm white, and the chrome keeps it from going soft. Pair it with an onyx pen set and a leather blotter and the whole surface starts to feel considered rather than assembled. For anyone with Reno history — or anyone who simply likes objects that were built to be used every day for twenty years — this is a small, specific, entirely unrepeatable piece of it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt also still works. Load a roll of adding-machine tape and it will take notes for you the way it did in 1970.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47998650253417,"sku":null,"price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3341.jpg?v=1788515960"},{"product_id":"robin-carson-city-pottery-ruffled-stoneware-ring-dish-blue-over-celadon-brushwork-nevada-c-1990s","title":"Robin, Carson City Pottery Ruffled Stoneware Ring Dish, Blue-Over-Celadon Brushwork, Nevada, c. 1990s","description":"\u003cdiv role=\"feed\"\u003e\n\u003cdiv role=\"article\" tabindex=\"-1\"\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA shallow wheel-thrown bowl with a hand-ruffled rim, glazed in a soft celadon-grey and brushed with broad cobalt strokes that run from the rim down into the well like weather moving across a valley. The throwing rings are left visible under the glaze — the potter didn't smooth them out, and the piece is better for it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eTwo details make it more than a bowl. A tapered cone rises from the center, thrown as one with the body, and the flat shelf of the rim is pierced with pairs of small round holes evenly spaced around the circumference. The cone stacks rings; the holes take earring posts and wires. It's a jeweler's dish in studio pottery form — everything you take off at the end of the day lands in one place and stays visible.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe foot is broad, unglazed, and cleanly turned, with a single pierced opening at the center. Underneath, incised into the raw clay in the potter's own hand: \u003cstrong\u003eRobin · Carson City Pottery\u003c\/strong\u003e, with a small applied and glazed robin pressed into the foot beside it — the maker's signature device, and a rather charming one.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCarson City Pottery is a working studio in Nevada's capital, the kind of small-production shop where pieces are thrown, glazed, and fired under one roof and signed by the hand that made them. Work from studios like it rarely travels far. It's sold locally, given locally, and stays in the drawers and on the dressers of the region it was made in — which is precisely why it is worth collecting close to home.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe mark here is a personal one rather than a production stamp: a first name, a studio name, and a modeled robin, all applied by hand before the first firing. No two of these pieces are identical, and this one carries brushwork that will not be repeated.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eWheel-thrown stoneware ring and earring dish\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eCarson City, Nevada — Carson City Pottery\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eShallow bowl with hand-ruffled rim, central ring cone, paired piercings around the rim shelf, broad turned foot with central opening\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eStoneware, celadon-grey glaze with cobalt brushwork, unglazed foot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eIncised \"Robin · Carson City Pottery\" to the foot, with an applied and glazed robin\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1995–2020\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, cracks, crazing, or glaze loss; all piercings clean and open; sits flat and stable. Kiln-normal glaze variation and visible throwing rings are original to the making. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eEveryone has a place where the rings come off — a windowsill, the edge of a sink, a saucer that was never meant for it. This is the object that ends that. The cone holds a stack of bands, the pierced rim keeps pairs of earrings together and untangled, and the whole thing is handsome enough to leave in plain view on a nightstand or a bathroom counter rather than in a drawer.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe glaze is the reason to want it. That grey-green ground with cobalt drawn across it is the palette of high-desert weather, and it sits beautifully against walnut, brass, unglazed terracotta, and white marble alike. It's also the right scale for a dresser vignette: low, wide, quiet, and finished on every side including the one nobody sees.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003ePractical note: stoneware is durable but not indestructible. Hand-wash if it needs it, and keep it off a stone counter edge where a knock would find the ruffle first.\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47998687608937,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/6E62D93B-69B3-40D7-B707-9E7CA64DC0D6_4_5005_c.jpg?v=1788516113"},{"product_id":"art-nouveau-antique-grapevine-stained-glass-hanging-panel-c-1900-salvaged-glass-in-later-framing","title":"Art Nouveau Antique Grapevine Stained Glass Hanging Panel, c. 1900 Salvaged Glass in Later Framing","description":"\u003ch3 dir=\"ltr\"\u003eThe Piece\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eA single grapevine climbs the full length of this narrow panel — clusters of amethyst and opal-white fruit hanging beneath leaves in amber and citrine, the stem curling back on itself in the whiplash line that defines Art Nouveau ornament. The leaves are worked in fan-textured glass, so the color moves as you move past it rather than sitting flat. Amber corner blocks square the composition top and bottom.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe ground behind the vine is what earns the piece its place. Those frosted panes are acid-etched with a scrolling acanthus that's nearly invisible in reflected light and comes forward the moment light passes through from behind — hang it against a window and a second design appears underneath the first. Smoked and rippled panes alternate beside them, with a strip of green glass running one edge.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe panel is not a single period object and isn't sold as one. The etched, smoked, and rippled grounds are older architectural glass, salvaged. The vine laid over them is later work: the came is uniformly rounded and matte rather than soldered and oxidized, and the leaves carry the slight dome and gloss of applied color rather than cut glass. The frame is later again — clean milled profile, painted sage-green with fine gilt fillet lines, chain and two decorative ring mounts already fitted to the top rail. Old glass, newer vine, newer housing, and it reads considerably better in person than that accounting suggests.\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eGrapes and vine leaves are among the oldest motifs in domestic glass, and by the late nineteenth century they were standard vocabulary in American and European architectural glazing — transoms over dining room doors, sidelights, saloon and wine cellar windows, anywhere the iconography of abundance made sense. The narrow vertical proportion here is the tell that the glass began as architectural stock rather than decoration: this is transom or sidelight geometry.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe acid-etched acanthus ground belongs to that tradition. Etched pattern glass of this kind was produced in quantity from roughly the 1880s through the 1920s for interior doors, screens, and partitions, and salvage from demolished buildings has circulated in the trade ever since.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe applied came technique carrying the vine is a later method, used widely from the mid-twentieth century forward and especially through the stained glass revival of the 1970s and 80s, when older glass was frequently reworked into hanging panels. That is almost certainly what happened here — someone with good eyes took architectural salvage worth keeping, gave it a design, and framed it properly.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnmarked, as this kind of work usually is. Catalogued here as a composed panel rather than attributed to any maker or period.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003e[Walter — acquisition line goes here.]\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003eProduct Details\u003c\/h3\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eFramed leaded glass hanging panel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican or European glass; composition undetermined\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eVertical grapevine with fruit clusters and foliage, amber corner blocks, acid-etched acanthus ground\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eAcid-etched, smoked, and rippled glass; applied came with colored glazing; painted wood frame with gilt fillet; chain and ring mounts\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eSalvaged glass late 19th–early 20th century; vine and frame later, 20th century\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e[W] × [H] × [D] · [weight]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGlazing sound throughout, no visible cracks or losses. Paint loss and minor chipping along the upper edge of the frame, consistent with hanging wear. Chain and ring mounts secure, ready to hang. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003ch3 dir=\"ltr\"\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eThis solves a specific problem: a window you want light from but not the view through. A bathroom facing a fence. A stair landing looking at the neighbor's siding. Hang the panel on its chain in front of the glass and you keep the light, gain the color, and lose the fence entirely.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt works where there's no window at all, too. The proportion is narrow enough for the wall between two doorways, or the dead vertical strip beside a cabinet run, where almost nothing else fits. Put a light behind it and the frosted ground does the work.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe grape motif has an obvious home in a dining room, over a bar, or in a wine room, and that's where most of these end up. But it's the etched ground that keeps it interesting — genuinely old, genuinely architectural, and legible at a different hour every day.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOne care note for the buyer: hang from a stud or proper anchor, never drywall alone, and clean with a damp cloth only. Ammonia glass cleaners dull both the came and the colored glazing.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47999006670953,"sku":null,"price":1595.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3347.jpg?v=1788534188"},{"product_id":"hand-painted-kutahya-cini-footed-bowl-cobalt-and-turquoise-i̇znik-style-tulips-gediz-cini-mark-c-1945-1965","title":"Hand-Painted Kütahya Çini Footed Bowl, Cobalt and Turquoise İznik-Style Tulips, Gediz Çini Mark, c. 1945–1965","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA small footed bowl with a scalloped, foliate rim, hand-painted underglaze in two blues — a deep cobalt and a softer turquoise — on a warm white ground. The interior is a radial composition: a densely saturated cobalt rosette at the center, alternating tulips and stylized saz leaves fanning outward, and beaded turquoise stems filling the intervals between them. A broad sponged cobalt band follows every lobe of the scallop at the rim.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe exterior is painted as well, so the bowl reads from any angle rather than only from directly above — worth knowing before you decide where to put it. The underside is signed by hand in cobalt.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eYou can see the brush in it. The sponged border varies in density from lobe to lobe, the rosette shows the loading and drag of the stroke, and no two tulips are drawn identically. Fine crazing runs through the glaze across the entire surface, softened and settled with age — the crackle that comes from a soft glaze over a harder body, and part of what gives the surface its depth.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eKütahya, in western Anatolia, is one of the longest continuously producing pottery centers in the world. When the imperial İznik workshops declined in the 17th century, Kütahya inherited the painted tradition and has carried it since. Çini is the Turkish term for the ware: a quartz-and-frit body, slipped white, painted in underglaze color, and finished under a clear glossy glaze.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe decorative vocabulary here is the İznik one — the tulips, carnations, and arabesques the 16th-century Ottoman potters perfected under palace patronage — rendered in the two-color cobalt-and-turquoise scheme Kütahya ateliers favor for domestic ware. The tulip is the most common motif in the tradition, read as a symbol of divine beauty.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe underside is inscribed by hand, in the painter's own cobalt: \u003cem\u003eGediz Çini \/ Kütahya Türkiye.\u003c\/em\u003e Gediz is a district of Kütahya province, and the mark identifies a small atelier rather than a factory — consistent with the hand-thrown foot, the greyish body visible at the unglazed footring, the wheel rings left inside it, and the freehand painting throughout. That the mark is in Turkish rather than the English \"Made in Turkey\" used on export ware points to domestic production. Dating rests on stylistic and technical evidence rather than documentation: the sponged rim band and the settled crazing place it in mid-century workshop output, before the tighter, more uniform brushwork of later export production. The bowl came to The Eclection through Reno-area sourcing; earlier ownership is undocumented.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eObject\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eHand-painted çini footed bowl\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOrigin\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eKütahya, Türkiye\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eForm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eWheel-thrown, scalloped foliate rim, raised footring; painted inside and out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaterial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eÇini body, slipped white, hand-painted underglaze cobalt and turquoise beneath a clear glossy glaze; body greyish where exposed at the unglazed footring\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMarks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eHand-inscribed underfoot in cobalt: \"Gediz Çini \/ Kütahya Türkiye\"\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEra\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ec. 1945–1965 — dated on stylistic and technical evidence; the mark carries no date\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eØ [0.00] in. × H [0.00] in. · [0.0 lb]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eStructurally sound and complete. No chips, cracks, hairlines, or restoration. Overall fine glaze crazing across the surface, consistent with this ware and its age — original to the glaze rather than a result of damage, and settled rather than active. A few kiln specks in the glaze, original to firing. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBlue-and-white is the most portable idiom in decorative arts — it sits as comfortably on a Georgian mantel as on a mid-century credenza — and this one arrives with a lobed silhouette and a genuinely hand-drawn surface rather than a transfer-printed one. Because the exterior is painted too, it earns a spot where you see it from the side: a kitchen island, an open shelf at eye level, a round table you walk around. Set on a low coffee table where you only look down into it, half the painting goes to waste.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eTreat it as a dry vessel rather than a serving bowl. Keys by the door, rings and small change on a nightstand, salt or spices at the table, paper clips on a desk — the crazed glaze is porous, and that's the one real constraint on how it can be used. Against a dark wall or a dark shelf back, alone, the scalloped rim does the work of a small sculpture.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCare: hand-wash in warm water with mild soap and dry immediately. The crazed glaze will absorb standing liquid and stain over time, so avoid the dishwasher, skip prolonged soaking, and keep oily foods off it entirely.\u003c\/p\u003e\n\u003chr\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48001874100329,"sku":null,"price":212.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3375.jpg?v=1788731244"},{"product_id":"dr-seuss-fox-in-socks-hardcover-c-1965-1969-beginner-books-club-edition","title":"Dr. Seuss Fox in Socks Hardcover, c. 1965–1969 Beginner Books Club Edition","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe first thing you notice isn't the fox. It's the price. Someone wrote \u003cstrong\u003e25¢\u003c\/strong\u003e across the upper right of the front cover in purple crayon, in a confident adult hand, and that mark has now outlived whatever card table or church basement it was written for. It's the reason this copy is more interesting than a clean one.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnderneath it is a standard Beginner Books hardcover of the 1960s: cream ground, broad orange band along the bottom, and the Cat in the Hat colophon roundel at the upper right reading \"I CAN READ IT ALL BY MYSELF.\" The covering has a woven texture and frays in fibers at both spine ends. The lower right corner of the front board has lost its covering entirely, exposing pale board. Three dark vertical marks sit in the orange band, a short pink crayon scribble runs across the grass line near the fox's forward foot, and the cream field carries general finger-darkening. Inside, the front hinge shows what appears to be a later tape repair with brown adhesive staining along the gutter — visible, competent, and load-bearing. That hinge is where these always go first.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe identification point is printed small at the lower left of the leaf facing the title page: \u003cstrong\u003eBOOK CLUB EDITION.\u003c\/strong\u003e That settles what this is, and it isn't catalogued as anything else.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBeginner Books was founded in 1957 by Theodor Geisel with Helen Palmer Geisel and Phyllis Cerf, built on the argument that the Dick and Jane primers were dull enough to teach children to dislike reading. \u003cem\u003eFox in Socks\u003c\/em\u003e followed in 1965 — less a controlled-vocabulary reader than an escalating articulation exercise, which is why Geisel warns the reader off on the endpaper before the text begins.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe copyright line here is the original 1965 registration, LCCN 65-10484, with simultaneous Canadian publication. But the book club marking governs the dating: Random House ran a mail-order subscription club that shipped these titles to households, printed from the same plates as the trade edition, identified on the title leaf, and issued without a priced jacket. Club printings ran alongside trade printings for years, so a copy marked this way can't be pinned to a single year. Catalogued as a 1960s book club printing of the 1965 first edition. It is not a trade first, and it is not offered as one.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eNo documentary provenance accompanies the book. The 25¢ mark is the only trace of its history between the subscription that delivered it and now.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e[Walter — acquisition line goes here.]\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eObject\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eIllustrated children's hardcover — Dr. Seuss, \u003cem\u003eFox in Socks\u003c\/em\u003e; Beginner Books \"I Can Read It All By Myself\" series, book club printing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOrigin\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAmerican — published New York; manufactured in the United States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eForm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eUpright pictorial hardcover, sewn text block, yellow pictorial endpapers; issued without dust jacket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaterial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eCloth-finished covering over boards, offset-printed; later adhesive tape at the front inner hinge (not original)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMarks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eCover: \"Fox in Socks \/ A Tongue Twister for Super Children \/ By Dr. Seuss\"; colophon roundel, \"I CAN READ IT ALL BY MYSELF · Beginner Books.\" Title leaf, facing page: \"BOOK CLUB EDITION.\" Copyright, 1965, by Dr. Seuss; Beginner Books, Inc., New York; LCCN 65-10484. Hand-inscribed in purple crayon on the front cover: \"25¢\"\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEra\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTitle first published 1965; this book club printing not precisely datable — 1960s\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e[Walter — measurements and weight to be inserted.]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eComplete and structurally intact; sewn binding holding, opens flat. Later tape repair to the front inner hinge with adhesive staining. Covering frayed at both spine ends; covering loss at the lower right front corner; scuffing through the orange band. Three dark marks in the orange band; pink crayon scribble at the fox's foot; \"25¢\" in purple crayon on the cover, deliberately retained — lifting wax crayon from this surface would take the printed layer with it. Overall soiling, spine rubbed with thinned lettering, title leaf tanned and foxed at the fore-edge. No interior markings on the pages examined. No dust jacket. A used reading copy of a book that was read by children, presenting accordingly. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBuy this one to read from, not to seal in mylar. The condition question is already settled — corner gone, hinge taped, crayon permanent — which means there's nothing left to protect and no reason to keep it out of a child's hands. A pristine collectible on a high shelf does no work. This one can go on the floor.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDisplayed, it wants to be face-out. The spine is narrow and its lettering now rubbed thin, so shelved conventionally the book disappears into the row. Front-facing on a picture ledge, a low shelf in a child's room, or a small easel, that cream-and-orange cover is a strong flat block of mid-century color — the exact register of 1960s American commercial printing, which reads as old from across the room and holds its own against the flat white walls of a house with no period detail of its own.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eKeep it out of direct sunlight; the orange ink and cream ground will both shift with UV, and the covering is already thin at the spine. Store it upright rather than at the bottom of a stack — the taped hinge doesn't want compression. Pull it by the boards, not the spine. Leave the crayon alone.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48002713518185,"sku":null,"price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_0194.jpg?v=1788680771"},{"product_id":"19th-century-scottish-victorian-mahogany-mirror-back-bar-sideboard-flame-veneer-and-carved-acanthus-c-1860-1870","title":"19th Century Scottish Victorian Mahogany Mirror-Back Bar Sideboard, Flame Veneer and Carved Acanthus, c. 1860–1870","description":"\u003ch4 dir=\"ltr\"\u003eThe Piece\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eA monumental serpentine back bar in solid and figured mahogany — twelve feet wide and ten feet to the top of the carved crest — built in Scotland at the height of the Victorian cabinetmaking trade. The case sweeps forward in a shaped breakfront with bowed, rounded end cabinets, so it reads as a curve rather than a block: an expensive way to build then, and a rare one to find intact now. Every door carries a book-matched flame mahogany panel, the grain rising in a plume from the center seam, framed by carved acanthus swags and turned bosses. Fluted pilasters with scrolled corbels divide the front and carry the eye upward.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe superstructure is the showpiece: an arched beveled mirror crowned by a pierced, hand-carved acanthus and scroll cresting, flanked by two tall mirrored panels with small serving shelves on carved brackets. The top is a single expanse of polished mahogany with a molded ogee edge, deep enough to work behind and long enough to stage properly. This is a genuine back bar at architectural scale — the kind of piece a room gets built around.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eHistory \u0026amp; Provenance\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003ePieces like this were made for Scottish merchant houses and public rooms in the 1860s, when Glasgow and Edinburgh cabinet shops were turning out serpentine mahogany casework for a clientele that wanted the look of a great house at full architectural scale. This one didn't stay in Britain. It was shipped to San Francisco by sea — the standard route for heavy furniture bound for the West, around Cape Horn or transshipped by way of Panama — and then freighted over the Sierra Nevada by wagon to Genoa, Nevada.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThat last leg matters. Moving twelve feet of Scottish mahogany over the Sierra by wagon was a serious undertaking, and nobody did it casually. Genoa, settled in 1851 as Mormon Station, is the oldest permanent settlement in Nevada, a stop on the Carson Branch of the California Trail and the commercial anchor of the Carson Valley during the Comstock years. Furniture of this weight and quality reached the territory only when someone had the means and the ambition to pay for it. It has remained in the region since — better than a century and a half in the Carson Valley and Reno, and it survived every decade when Victorian mahogany was unfashionable enough to be broken up.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003eProduct Details\u003c\/h4\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eMirror-back bar sideboard\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eScotland; imported via San Francisco to Genoa, Nevada\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSerpentine breakfront case with bowed end cabinets, four paneled cupboard doors and a frieze drawer, on a stepped plinth base; three-panel mirrored superstructure with carved cresting and two bracket shelves. Approx. 12 ft wide × 10 ft high (144\" W × 120\" H), [D] deep. Separates into base and mirrored back for transport\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid mahogany with flame and crotch mahogany veneers; hand-carved acanthus, scroll and rosette appliqués; beveled mirror plate\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnsigned, as is typical of British trade cabinetwork of the period\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1860–1870\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent structural condition for its age, with a warm, well-kept finish and strong figure throughout. Mirrors are original with light age typical of period plate. Expect minor surface marks, small veneer imperfections and honest wear consistent with 160 years of use. 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\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003ch4 dir=\"ltr\"\u003eWhy It Belongs in Your Home\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eThis is not a piece you fit into a room — it's a piece you plan a room around. At twelve feet wide and ten feet high it wants real architecture: a ballroom, a great room, a converted commercial space, a restaurant or club, or a residence with ceilings tall enough to let the carved crest breathe. Given the right wall, it becomes the whole argument for the room. The mirrors double the light and give back the space, which is exactly what they were designed to do in a Victorian interior lit by gas and candle. Use it as a proper bar, as a monumental buffet, or as the display back for a collection you want people to notice — the shelves and the shaped top were built for staging.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt also carries a Nevada story very few antiques in the state can claim: made an ocean away, landed in San Francisco, and hauled here by wagon before the railroad reached the valley. A note on care: measure your ceiling height and doorways before delivery, keep the piece out of direct afternoon sun, dust the carving with a soft brush rather than a cloth that can catch on the acanthus tips, and feed the mahogany with a quality paste wax once or twice a year — nothing silicone-based.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003192750185,"sku":null,"price":29420.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ChatGPTImageSep6_2026at02_02_47PM.png?v=1788728601"},{"product_id":"boraxo-pastel-heads-advertising-print-on-wood-panel-c-1907","title":"Boraxo \"Pastel Heads\" Advertising Print on Wood Panel, c. 1907","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA period advertising sheet, printed in soft pastel color, mounted permanently to a plain wood panel. Four half-length portraits of Edwardian women fill the corners — each in an elaborate wide-brimmed hat trimmed with roses, gauze, and ribbon, painted in the pale blue-grey and dusty rose palette that defined commercial \"beauty head\" printing between about 1900 and 1915. Across the top, in a heavy serif: \u003cstrong\u003eThese Beautiful Pastel Heads Free.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRead the center panel and the object explains itself. It advertises Boraxo Bath Powder, one of a series of four prints at 14 × 17 inches each, given away with every 25¢ tin — buy the tin from your grocer, remove the label from the top, mail it with five stamps to the Pacific Coast Borax Co., and the pastel head arrives by return post. At the bottom: \u003cstrong\u003eOffer expires January 1st, 1908.\u003c\/strong\u003e That line dates the sheet. This is the announcement, not the prize. The four heads shown here are miniatures of premiums that went out at full size; what survives is the piece of paper that advertised them.\u003c\/p\u003e\n\u003cp\u003eThe condition is that of a promotional sheet never meant to last a year, let alone a century. Quadrant fold creases run through the composition, dividing the four heads. The paper has toned to a warm ivory, with scattered foxing and two areas of brown staining — one substantial patch at the lower right across the seated figure's shoulder, a smaller one at lower center. The pastel inks have faded, which flattens the contrast and, if anything, improves the thing as an object. Under raking light the sheet shows its texture and a slight ripple from the adhesive beneath.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Pacific Coast Borax Company was formed in 1890 by Francis Marion Smith, the \"Borax King,\" and built one of the most durable trademarks in American consumer goods around the twenty-mule teams that hauled borax out of Death Valley in the 1880s. Boraxo, its powdered soap line, is the product being sold here — and the sales mechanic on this sheet is the mail-in premium, the dominant tool of packaged-goods advertising in the decade before the First World War. Give away something a household would hang on a wall, and the brand name goes up with it.\u003c\/p\u003e\n\u003cp\u003eThe \"pastel head\" was the standard currency of that exchange. Publishers and advertisers issued them by the millions: idealized young women in seasonal hats, printed in halftone to imitate the soft-focus pastel portraiture then fashionable, and sized to fit a parlor wall. This sheet carries no artist credit and none is legible, which is normal — the genre's commercial output was largely unsigned, and attribution to any of the named illustrators working in it would be a guess. Catalogued here by the printed evidence on the sheet itself.\u003c\/p\u003e\n\u003cp\u003eThe mount is a separate and much later event. The sheet has been glued to a wood panel, the paper's perimeter torn to an irregular deckle, and the exposed wood around it stained dark brown to frame the image — the vocabulary of mid-century decoupage plaque work, applied to a great many antique prints in a great many American basements. It is not original, it is not reversible, and this is not sold as an unmounted print. The reverse is bare wood with visible mill marks, a single small screw remaining near the top center with white paint residue around it, and a second fixing mark below.\u003c\/p\u003e\n\u003cp\u003eThe board is the reason this survived at all. An unmounted 1907 giveaway sheet with quadrant folds is a fragile thing that mostly ended up in the stove. This one got glued down and hung up.\u003c\/p\u003e\n\u003cp\u003e[Walter — acquisition line goes here.]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth\u003eField\u003c\/th\u003e\n\u003cth\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eObject\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAdvertising premium announcement sheet, mounted on a wood panel as a hanging plaque\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOrigin\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAmerican — Pacific Coast Borax Company\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eForm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eRectangular upright panel; printed sheet adhered to wood, paper edge torn to an irregular deckle, surrounding wood stained dark brown as a border\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaterial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eColor-printed paper on a solid wood panel; adhesive mount; stained wood border. Reverse bare wood with mill marks\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMarks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ePrinted headline: \"These Beautiful Pastel Heads Free.\" Center panel, as legible: \"ONE OF A SER[IE]S OF FOUR — SIZE 14×17 \/ To Be Given Away With Each 25¢ Tin \/ BORAXO BATH POWDER,\" with redemption instructions referencing the top of the tin, five stamps, and the Pacific Coast Borax Co.; \"PRICE 25¢\"; \"Offer expires January 1st, 1908.\" Portions of the panel abraded and only partly legible. No artist signature located\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEra\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ePrinted sheet dated by its own expiration line to c. 1907. Wood mounting substantially later — treatment characteristic of mid-20th-century decoupage plaque work, undated\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e[Dimensions to be inserted]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eNot a single-period object and not sold as one: an early 20th-century printed sheet on a later wood mount, permanently adhered and not separable without destroying the paper. Panel structurally sound. Paper toned to warm ivory with scattered foxing; brown staining at the lower right across one figure and a smaller patch at lower center; quadrant fold creases through the composition; pastel inks faded from original strength; portions of the printed ad panel abraded and partly illegible; slight surface ripple from the adhesive. Irregular paper perimeter appears deliberately torn as part of the mounting rather than accidental loss. Reverse retains one small screw with white paint residue and a second fixing mark. Sold as a decorative wall object, not as a collectible unmounted print. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIt's already a wall object. No framing, no glazing, no matting decision, no trip to the framer — it arrives ready to hang, which for a piece of 1907 paper is unusual and worth something. The dark stained border does the work a frame would, and the tight scale suits the walls that defeat framed art: the narrow run between a door casing and a corner, the space above a low console, the stretch over a laundry sink.\u003c\/p\u003e\n\u003cp\u003eThe palette needs help, though. These inks have faded to a genuinely soft register, and on a white or pale wall the whole thing will go quiet and disappear. Hang it on something saturated — a deep green, a dark clay, a papered wall with pattern — and the pale heads read as luminous instead of washed out. That contrast is the difference between this working and this vanishing.\u003c\/p\u003e\n\u003cp\u003eThe obvious placement is a bathroom, since the sheet is literally selling bath powder. Resist it if the room has a shower. Unglazed paper on a wood mount in a steam room will cockle, lift, and grow mold along the adhesive line. A powder room with no tub is fine, and a laundry room is better still — the 20 Mule Team lineage puts it exactly where it belongs, and the humidity is intermittent rather than daily.\u003c\/p\u003e\n\u003cp\u003eCare: keep it out of direct sunlight, since the pastel inks are already faded and will continue to go. Dust with a dry soft brush only — no cloths, no sprays, no water, nothing on the paper surface. Don't attempt to lift the print off the board; the mount is permanent and any attempt will take the paper with it. Hang from a wall anchor rated well above the panel's weight.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003650322537,"sku":null,"price":144.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3358.jpg?v=1788752680"},{"product_id":"royal-china-memory-lane-transferware-plate-c-1960s-pink-ironstone","title":"Royal China Memory Lane Transferware Plate, c. 1960s Pink Ironstone","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA round transfer-printed plate in the deep rose-red that mid-century American potteries called pink, on a warm off-white ironstone body. The well carries a pastoral scene: a clapboard farmhouse under heavy summer trees, a stream running across the foreground, a man driving two cows through the shallows with a dog at his heels. The rim is a continuous oak-leaf-and-acorn wreath, and between rim and well runs a narrow zigzag band that reads almost like stitching.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe transfer is where the interest is. Every leaf, every shingle, every clump of foliage is built from engraved line and stipple, printed from an inked tissue laid onto the biscuit body and then glazed over — which is why the image sits beneath a glassy surface rather than on top of it, and why it has not worn away in sixty-odd years of use. Look closely and you can find the seams: the pattern doesn't quite align where the transfer was joined at the rim, and there's slight softness in the print where the tissue lifted unevenly. That's how you know it's a transfer and not a decal.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFine crazing runs through the glaze across the well, the network of hairline crackle that a soft glaze develops over decades. There's light utensil scratching in the center, an amber stain on the face of the rim at the lower left, and on the reverse a pale tan stain toward the center with a small patch of whitish residue near the rim. No chips, no cracks, no restoration.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe Royal China Company was founded in Sebring, Ohio in 1934, in the old E. H. Sebring China plant, and became one of the most productive American potteries of the century — nearly eight million pieces a year within six months of opening, 700 employees by 1950, and eventually the largest unionized china manufacturer in the country. It did this by making dishes ordinary people could actually afford: a twenty-piece set for under six dollars in the early 1950s, sold through grocery stores, variety shops, and mail-order catalogs, and given away as promotional premiums.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eRoyal's signature idea was to print Currier \u0026amp; Ives lithographs onto dinnerware. The blue Currier \u0026amp; Ives line launched that success, and Memory Lane is its counterpart in pink — the same nostalgic American pastoral vocabulary, the same 19th-century print sources, rendered in rose instead of cobalt. The oak-leaf-and-acorn border is the pattern's signature, and it repeats in the backstamp itself.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe reverse is marked in green: \u003cstrong\u003eMemory Lane\u003c\/strong\u003e in script within a shaped cartouche with an acorn sprig, over \u003cstrong\u003eROYAL IRONSTONE \/ UNDERGLAZE \/ MADE IN U.S.A.\u003c\/strong\u003e The ironstone body and that mark place this in Royal China's later production, c. 1960s–1970s, rather than the earliest semi-vitreous years. The company closed in 1986 and the plant was auctioned; nothing has been made under that mark since.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnmarked as to date and undocumented as to ownership, which is the normal condition for dinnerware sold by the carload through grocery stores. This is a survivor from a household, not from an archive.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eField\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eObject\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTransfer-printed ironstone dinner plate, Memory Lane pattern\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOrigin\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAmerican — Royal China Company, Sebring, Ohio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eForm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eRound, wide decorated rim with central pastoral reserve; oak-leaf-and-acorn rim wreath with inner zigzag band\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaterial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eWhite ironstone body, underglaze transfer print in rose-red, clear glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMarks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eGreen underglaze backstamp: \"Memory Lane\" in script within a shaped cartouche with acorn-and-oak-leaf sprig, above \"ROYAL IRONSTONE \/ UNDERGLAZE \/ MADE IN U.S.A.\"\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEra\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ec. 1960s–1970s\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eØ 10 in. × H 1 in. · approx. 1 lb\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eStructurally sound and complete. No chips, cracks, hairlines, or restoration. Fine overall crazing through the glaze in the well, consistent with the ware and its age. Light utensil scratching to the center. Amber stain on the face of the rim at lower left; pale tan stain on the reverse toward the center, with a small patch of whitish adhesive residue near the rim. Transfer print strong, with the slight seam misalignment and softness normal to hand-applied transfers. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eRed transferware is the harder-working sibling of blue-and-white, and it's the one most people overlook. Blue reads cool and formal; this rose-red reads warm, and it sits against wood, brass, and terracotta in a way blue never quite does. On a walnut sideboard or a stained plate rail it looks like it grew there.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUse it as a wall plate rather than a table plate, and hang it in a group. A single Royal China plate is a modest object; five or seven of them, mixed with other reds and other patterns, become a wall. The oak-leaf border gives this one a strong graphic edge that holds its own at three feet, which is the real test — a lot of transferware turns to mush at viewing distance and this doesn't. It also works flat: as a catch-all on an entry table, under a lamp base, or as a riser for a small plant.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIf you do want it at the table, treat it as a charger or a serving underplate for dry service rather than as everyday dinnerware. The crazing is porous and will absorb sauces and oils, and mid-century glazes of this vintage were not made to modern food-safety standards. It's a decorative object that can occasionally do a job, not a dishwasher plate.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCare: hand-wash in warm water with mild soap and dry immediately. Skip the dishwasher and the microwave. Don't soak it — standing water gets into the crazing and stains from the inside out. If you hang it, use a coated spring hanger rather than a bare wire one, and size it so the arms don't bear on the rim edge.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003655794793,"sku":null,"price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3323.jpg?v=1788753363"},{"product_id":"amber-pressed-glass-footed-votive-diamond-and-fan-pattern-c-1960-1980","title":"Amber Pressed Glass Footed Votive, Diamond and Fan Pattern, c. 1960–1980","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small footed votive in honey-amber pressed glass, the body rounded like a miniature rose bowl and set on a short, scalloped foot. The rim turns in slightly and finishes in soft undulating scallops rather than a cut edge — a pressed profile, and a gentler one than cut crystal gives you.\u003c\/p\u003e\n\u003cp\u003eThe pattern is the reason to own it. Deeply pressed diamonds, each one crosshatched into a fine grid, alternate with radiating fan panels around the full circumference, so the surface is entirely worked from foot to rim with no plain ground anywhere. That density is doing optical work: amber glass on its own is simply a color, but faceted like this it breaks light into dozens of small bright points. Set a candle inside and the whole vessel goes to warm gold, throwing a pattern of its own onto whatever it sits on.\u003c\/p\u003e\n\u003cp\u003eThe base is thick and slightly domed underneath, with the ring and faint mold seams a press leaves behind — the honest evidence of how it was made.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePressed glass is one of the great democratic inventions in American decorative arts. From the 1820s onward, mechanical pressing let ordinary households own glass that looked cut, and the deep geometric vocabulary of diamonds, fans, hobnails, and buttons that appears on this piece descends directly from the Daisy and Button and diamond-point patterns that carried the trade through the nineteenth century.\u003c\/p\u003e\n\u003cp\u003eThis example belongs to the twentieth-century revival of that vocabulary. Through the 1960s and 1970s the American pressed-glass houses turned out enormous quantities of small footed votives, compotes, and nut dishes in colored glass — amber above all, alongside avocado and smoke — reviving the old molds and patterns for a generation decorating in earth tones. It carries no maker's mark, which is normal for the form: pressed glass of this kind was identified by a paper label at the register, and those labels almost never survived the first wash.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eFooted votive holder; equally a small rose bowl or catch-all\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican pressed glass; unmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRounded body on a short scalloped foot, with an inturned scalloped rim; press-molded in one piece\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eAmber-tinted pressed glass in an all-over diamond-and-fan pattern with crosshatched diamond fields\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked; originally paper-labeled, as pressed glass of the period typically was\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1960–1980\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, flea bites, cracks, or losses to the pattern points, which are the vulnerable places on pressed glass. Color is clear and even, the facets are crisp, and the surface has no clouding. Mold seams and base ring present as made. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eAmber glass is the easiest color to live with, because it does what candlelight already does. Put a tealight in this one on a dinner table, a bathroom counter, or a bedside stack of books and the light comes back gold and faceted rather than flat. It's just as good unlit — on a windowsill where afternoon sun can pass through it, or on a desk holding paperclips, rings, or a single stem of something short. Group it with two or three other amber pieces at different heights and you have a still life; leave it alone on a dark wood surface and it reads as a jewel.\u003c\/p\u003e\n\u003cp\u003eA note on care: hand wash in warm water with a soft brush to reach into the crosshatching, and dry it promptly so no water sits in the pattern. Skip the dishwasher, which will etch and cloud pressed glass over time, and let it come to room temperature before adding a candle.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003740729449,"sku":null,"price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/AE2E1CC8-731E-4B7C-A94E-023EAE3887BC_1_102_a.jpg?v=1788762227"},{"product_id":"hoosier-glass-diamond-point-flower-vase-pressed-clear-glass-with-flared-collar-c-1955-1975","title":"Hoosier Glass Diamond-Point Flower Vase, Pressed Clear Glass with Flared Collar, c. 1955–1975","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA pressed clear glass flower vase by Hoosier Glass, built on a hexagonal footprint that swells gently through the middle and draws back in before opening into a wide, flat-rimmed collar. The proportion is the thing — it's shaped to hold a loose hand-tied bunch upright without the stems splaying, which is exactly what a florist needs and what most straight-sided vases fail to do.\u003c\/p\u003e\n\u003cp\u003eThe entire body is covered in sharp diamond-point, hundreds of small faceted pyramids pressed in tight diagonal rows that spiral subtly with the hexagonal form. Clear glass worked this densely stops behaving like a window and starts behaving like a prism: it catches light along every ridge, and it does the kind, useful thing of hiding cloudy water and cut stems while still reading as glass. The collar rim is left smooth and slightly flared, a clean band that frames the texture below it. Underneath, the base carries an impressed starburst and the maker's mark with its mold number.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eHoosier Glass takes its name from Indiana, the Hoosier State, and belongs to the great Midwestern pressed-glass corridor that ran through Indiana and Ohio for more than a century. The company's business was the florist trade: sturdy, well-proportioned pressed vases produced in volume and sold to flower shops across the country, each one marked on the base with a mold number identifying the shape. Those numbers are shape codes rather than dates, which is why so many of these vases are misdated online.\u003c\/p\u003e\n\u003cp\u003eThey were designed to be workhorses. A florist filled one, sent it out with an arrangement, and never expected it back — which is precisely why they turn up in such numbers today, and why the good shapes are worth rescuing. The diamond-point pattern this one carries is a direct descendant of nineteenth-century hobnail and diamond-point pressed glass, revived because it did its job so well: it sparkles under shop lights and it forgives cloudy water.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eFlower vase\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eHoosier Glass, Indiana\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eHexagonal body with a swelled waist drawing in to a wide flared collar rim; press-molded in one piece\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eClear pressed glass in an all-over sharp diamond-point pattern, with a smooth collar and impressed starburst base\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eImpressed maker's mark and mold number to the underside, as Hoosier Glass vases were made\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1955–1975\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, flea bites, or cracks to the rim, base, or the diamond points, which are where damage shows first on pressed glass. Glass is bright and clear with no mineral clouding or water line inside. Mold seams present as made. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the vase you actually reach for. It's the right size for a grocery-store bunch or a handful of whatever's in the garden, the collar holds stems where you put them, and the faceted body means you never have to think about how the water looks. Clear glass goes with everything, so it works on a kitchen island, a bathroom counter, an entry table, or a desk without competing with anything around it. Empty, it earns its place too — set it where morning light can pass through and the diamond points throw small bright flecks across the surface it's standing on.\u003c\/p\u003e\n\u003cp\u003eA note on care: hand wash in warm water and use a bottle brush or a little uncooked rice swirled with soapy water to reach the interior. Skip the dishwasher, which etches and permanently clouds pressed glass, and dry the outside with a soft cloth so no spots settle into the pattern.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003744792681,"sku":null,"price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/97DE2B54-247F-4995-BD2A-659ABEA7F370_4_5005_c.jpg?v=1788762426"},{"product_id":"two-handled-art-pottery-vase-mottled-blue-semi-matte-glaze-c-1915-1935","title":"Two-Handled Art Pottery Vase, Mottled Blue Semi-Matte Glaze, c. 1915–1935","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA squat, broad-shouldered art pottery vase with a short collar neck and two flat buttress handles that spring from just below the rim and sweep down to meet the belly. Those handles are the whole design argument. They're not loops to lift by — they're architectural, angular where the body is round, and they give a small pot real presence by making it read as built rather than thrown.\u003c\/p\u003e\n\u003cp\u003eThe glaze is a soft cornflower blue that shifts as it moves over the form: denser and grayer where it pooled in the hollows, thinning to a pale chalky bloom over the shoulder and the raised edges of the handles, with a faint mottling throughout that looks like weather. It's a semi-matte surface with only a low sheen, the kind of glaze the American art potteries developed deliberately in reaction to Victorian high-gloss, meant to be touched as much as looked at. Fine dark specks are scattered through it and a small fired-over glaze pop sits on the front — the honest signature of a piece that went through a production kiln, not a laboratory.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis belongs to the American art pottery movement, the decades roughly between 1900 and the Depression when potteries across Ohio and the Midwest — the Zanesville corridor above all — put Arts and Crafts principles into production at prices ordinary households could meet. The formula was consistent: simple, honest forms; handles and buttresses treated as structure rather than ornament; and above all the matte and semi-matte glazes, developed at real expense, that gave the work its quiet, mineral character. Blue was among the most sought-after of those glazes and among the hardest to fire evenly, which is why surviving examples vary so much from pot to pot.\u003c\/p\u003e\n\u003cp\u003eThis one carries no legible maker's mark. Much of the trade's output was marked only with a shape number, a paper label, or nothing at all, and where an impressed mark exists it's frequently filled and softened by the glaze that flowed over it. Attribution aside, the piece speaks for itself: the profile, the buttressed handles, and the glaze chemistry all place it squarely in that period and that tradition.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eTwo-handled vase\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican art pottery; maker unattributed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSquat bulbous body with short collar neck and two flat buttress handles running shoulder to belly; recessed foot ring\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed earthenware in a mottled cornflower-blue semi-matte glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo legible mark; any impressed mark is obscured beneath the glaze, as is common in the trade\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1915–1935\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood honest condition with the as-fired character typical of period art pottery: a small fired-over glaze pop to the front showing a spot of tan body beneath, scattered dark kiln specks, and faint firing lines in the glaze. No chips or losses to the rim, handles, or foot. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA pot like this does more work than its size suggests. The blue is soft enough to sit against warm white, limewash, or unfinished wood without fighting anything, and the handles give it a silhouette that holds a shelf on its own — no flowers required. Put it on a mantel, a stack of books, an open kitchen shelf, or a bathroom counter and it reads as considered. It takes a short arrangement beautifully: dried grasses, a few branches, hydrangea heads, anything with weight rather than height, since the wide body wants a full, low shape rather than long stems.\u003c\/p\u003e\n\u003cp\u003eA note on care: dust with a dry soft cloth and wipe only with a barely damp one when needed. Matte and semi-matte glazes hold onto oils and cleaning residue in a way gloss doesn't, so skip soap, and never put it in the dishwasher. If you use it with fresh flowers, set a glass or plastic liner inside — period earthenware is porous, and standing water will eventually work through to the surface.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003752034409,"sku":null,"price":268.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/78108182-147F-4CC1-97D6-7F6CA082509B_1_102_o.jpg?v=1788762486"},{"product_id":"cream-crackle-glaze-pottery-urn-vase-fluted-body-on-octagonal-pedestal-foot-c-1930-1950","title":"Cream Crackle-Glaze Pottery Urn Vase, Fluted Body on Octagonal Pedestal Foot, c. 1930–1950","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA classical urn translated into American pottery: a trumpet-shaped body rising from a stepped stem to an octagonal pedestal foot, its whole surface broken into wide vertical flutes that finish in a softly scalloped rim. The flutes do the work here. They pull the eye upward, they catch light along every ridge and hold shadow in every hollow, and they turn what could be a plain white vessel into something with real architecture.\u003c\/p\u003e\n\u003cp\u003eThe glaze is a warm ivory cream, thick and gently pooled where it settled into the flutes, and it carries an allover craquelure — a fine web of crazing that has opened across the body and grown dense and map-like across the underside. That network reads as age rather than damage, the same quality that makes old creamware and ironstone desirable. The interior shows the soft gray mineral shading of a vase that spent decades holding actual flowers, and the base carries three small stilt marks where it stood in the kiln.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe fluted urn is one of the oldest shapes in Western decorative art, and American potteries returned to it constantly through the 1930s and 1940s — a period when Ohio and Midwestern makers were producing enormous quantities of well-formed white and ivory ware for florists, department stores, and household use. The appeal was that a neutral glaze on a classical form went with everything, in any room, in any decade. It was true then and it is still true.\u003c\/p\u003e\n\u003cp\u003eThis example carries no maker's mark, which is entirely ordinary for the category; much of the output left the factory with a paper label alone. What it does carry is the evidence of how it was made and used: the stilt marks on the foot, the pooling of glaze in the flutes, the crazing that took half a century to develop, and the faint interior staining from years of standing water. Those things cannot be manufactured, and they are what separates a piece like this from the reproductions that copy the shape.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eUrn vase\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican pottery; maker unattributed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFlared, fluted trumpet body on a stepped stem and octagonal pedestal foot, with a scalloped rim; slip-cast\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed earthenware in a warm ivory-cream gloss glaze with allover craquelure\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked; three stilt marks to the underside, as fired\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930–1950\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood honest condition with genuine age. Allover crazing to the glaze, densest across the underside, and soft gray mineral shading to the interior from years of use — both consistent with the period and not damage. A small glaze flake to one edge of the foot exposes a spot of buff body, and scattered dark kiln specks appear throughout. No cracks, and no chips or losses to the rim or flutes. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the neutral every collected room needs. Cream on a classical silhouette sits comfortably against wood, brass, blue-and-white, limewash, and warm paint, which means it works on a mantel, a console, a bookshelf, or the center of a dining table without asking anything of the room around it. It is tall enough to matter on its own and quiet enough to layer with other pieces. Empty, it reads as sculpture; filled, the flared rim supports a full, loose arrangement — branches, dried grasses, hydrangea, tulips that will lean.\u003c\/p\u003e\n\u003cp\u003eA note on care: crazed earthenware is porous, so use a glass liner or florist's tube for fresh flowers rather than filling the vase directly, and empty it promptly if you do. Hand wash only, with warm water and no soaking — water drawn into the crazing will darken the lines over time. Never the dishwasher.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003753050217,"sku":null,"price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/7F0DFDAF-4980-4B43-A741-66D6DD3C0294_4_5005_c.jpg?v=1788763055"},{"product_id":"gold-trimmed-pressed-glass-creamer-arched-panels-on-a-stippled-ground-c-1895-1915","title":"Gold-Trimmed Pressed Glass Creamer, Arched Panels on a Stippled Ground, c. 1895–1915","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small footed creamer in clear pressed glass, with a high arched spout, a curled loop handle, and a body divided into tall arched panels. Each panel is filled with a finely stippled ground and framed by a smooth raised border, so the surface alternates between frosted texture and clear brilliance as it turns in the light. A band of beading runs around the foot, and the underside carries a pressed rayed star — the detail the makers of this period put where almost nobody would look.\u003c\/p\u003e\n\u003cp\u003eThe rim, spout, and handle are trimmed in gold, applied over the glass and fired on. It has worn the way fired gold always does after a century of use, brightest in the protected hollows and thinning along the high edges where hands and cloths found it, and the result is far more beautiful than a perfect one would be. Held up to a window, the piece throws the stippling into relief and the gold reads as a warm line drawn around the whole silhouette.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis belongs to the era collectors call Early American Pattern Glass — the long stretch from the 1870s through roughly 1915 when American factories in Pennsylvania, Ohio, West Virginia, and Indiana pressed table glass in hundreds of named patterns and sold it by the set. A pattern would appear as a full line: pitcher, spooner, sugar, butter, berry bowls, and a creamer exactly like this one, so a household could build a matched table piece by piece.\u003c\/p\u003e\n\u003cp\u003eGold decoration marked the better end of that trade. It was applied by hand over the fired glass and refired, and it was expensive enough that gilded examples were the ones brought out for company and put away afterward, which is why they survive at all. The pattern here is unattributed — hundreds of these lines were produced, many by short-lived factories, and pressed glass of the period was almost never marked. It was identified in the catalog and at the counter, not on the piece.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCreamer\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican pressed glass; pattern and maker unattributed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFooted body with arched paneled sides, high pulled spout, curled loop handle, beaded foot band, and a pressed rayed star to the underside\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eClear pressed glass with fired gold trim to the rim, spout, and handle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked, as pressed table glass of the period almost always was\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1895–1915\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good with age. No chips, flea bites, or cracks to the rim, spout, handle, or foot — the vulnerable points on a piece this size. Glass is bright and clear. The fired gold shows honest wear along the high edges of the rim and handle, consistent with a century of use and expected on gilded ware of this date. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eSmall serving glass is the most usable antique there is, because it never stops having a job. Put it on a breakfast tray with real cream, use it for maple syrup or salad dressing at the table, or keep it on a desk or vanity holding pens, paperclips, cotton swabs, or a few short stems. On an open shelf beside ironstone and clear glass it does the quiet work of adding sparkle and a warm gold line without adding color. It's also the kind of thing that makes an ordinary Tuesday feel considered, which is the entire argument for using antiques rather than storing them.\u003c\/p\u003e\n\u003cp\u003eA note on care: hand wash in warm — never hot — water with a soft cloth, and keep the gold out of the path of any scrubbing. The dishwasher will strip fired gold completely in a single cycle and etch the glass over time, and sudden temperature changes are what crack century-old pressed glass. Dry it by hand.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003754688617,"sku":null,"price":112.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/247F2029-ABA4-4D37-BC77-BD2361C09092_4_5005_c.jpg?v=1788763263"},{"product_id":"ochre-crackle-glaze-baluster-vase-red-earthenware-body-c-1900-1950","title":"Ochre Crackle-Glaze Baluster Vase, Yellow Earthenware Body, c. 1900–1950","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small baluster vase with the profile that has served potters for a thousand years: a narrow rolled mouth over a short neck, shoulders that swell and then fall away in a long unbroken curve, drawing in at the waist before flaring to the foot. It is a shape you can read in a single glance from across a room, and at this scale it has the presence of something much larger.\u003c\/p\u003e\n\u003cp\u003eThe glaze is a warm ochre — mustard where it lies thin over the shoulder, deepening to honey in the hollows — and it is covered edge to edge in a fine, tight crackle that reads almost like the skin of a gourd. Scattered iron spots have burned through in a small constellation on the shoulder, dark brown against the yellow, and the surface carries a low waxy sheen rather than a glassy one. The foot is left unglazed, showing the raw body: a warm terracotta red that tells you immediately this was made from iron-rich earthenware clay rather than a white refined body.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe baluster is one of the great migrating forms in ceramics. It took its classic proportions in Chinese stoneware and traveled outward from there through Korea, Japan, and Southeast Asia, and then into European interpretation once export wares reached the West. Monochrome glazes in the yellow-to-amber range have a long history across all of those traditions, valued because a single well-fired color on a good silhouette needs no decoration to hold attention.\u003c\/p\u003e\n\u003cp\u003eThis example is unmarked and unattributed, which is the honest position. The red earthenware body, the unglazed foot, the iron spotting, and the tight crackle are all consistent with a hand-finished piece rather than a modern factory one, but nothing on it identifies a workshop or a date with certainty. What can be said plainly is that it has been used and handled long enough to earn its surface, and that the form is entirely successful on its own terms.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eBaluster vase\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; in the East Asian baluster tradition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eBaluster body with rolled mouth rim, short neck, high shoulder, and flared foot; unglazed foot ring\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eRed earthenware under an ochre monochrome glaze with allover fine crackle and iron spotting\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1900–1950\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSold as found, with age and use plainly visible. Glaze loss and roughness run around the mouth rim, exposing the body beneath, and the allover crackle is heavily developed with darkening in the lines. Scattered iron spots and small burst glaze bubbles appear across the surface, and the unglazed foot shows expected wear. No cracks through the body and the vase stands true. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eOchre is an underused color in a room and a generous one — it warms everything near it without reading as bright, and it gets along with wood, brass, leather, terracotta, and every shade of white. This vase is the right size for a bookshelf, a nightstand, a bathroom counter, or the corner of a desk, and it is best left alone or given a single dried stem so the silhouette stays legible. It also groups beautifully: put it with two or three other small vessels at different heights and in related earth tones and the collection reads as intentional rather than accumulated.\u003c\/p\u003e\n\u003cp\u003eA note on care: the mouth rim is worn and the body is porous, so this is a piece for dried arrangements rather than water. Dust with a dry soft cloth, wipe only with a barely damp one, and skip soap entirely — a crackled glaze draws liquid into the lines and darkens them permanently. Lift it by the body rather than the neck.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003755671657,"sku":null,"price":78.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/1A2CCB1F-69A6-4BE4-80B7-15526A45CA6E_1_102_o.jpg?v=1788763611"},{"product_id":"community-coronation-silverplate-salad-fork-oneida-ltd-c-1936-1960","title":"Community “Coronation” Silverplate Salad Fork, Oneida Ltd., c. 1936–1960","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA salad fork in Community's Coronation pattern, one of the most confidently designed silverplate patterns of the 1930s. The handle tapers from a squared terminal and rises through a panel of carved fruit and flowers — blossoms, a bellflower drop, curling foliage — worked in high relief and pierced clean through in two places, so light passes behind the ornament and the whole cartouche reads as carving rather than stamping. Above it the handle narrows into fine reeded flutes that run up to the tines.\u003c\/p\u003e\n\u003cp\u003eThe plate has aged into a soft pewter-gray patina with darker tone held in the recesses of the ornament, which is exactly where you want it — that contrast is what makes relief work legible. The reverse carries the maker's stamps in a shaped cartouche. It has been used, and it shows the light surface scratching that comes from decades of real meals, but the pattern is crisp everywhere it matters.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eOneida introduced Coronation in its Community silverplate line in 1936, and the name is a piece of history in itself. It was chosen for what everyone assumed would happen that year — the coronation of Edward VIII — and then Edward abdicated to marry Wallis Simpson, his brother was crowned George VI instead, and the pattern kept the name anyway. In Britain and the Commonwealth the same design was sold under the more diplomatic title Hampton Court.\u003c\/p\u003e\n\u003cp\u003eThat second name points to the design source. The carved fruit-and-flower cartouche was drawn from the celebrated limewood carvings of Grinling Gibbons at Hampton Court Palace, the seventeenth-century virtuoso whose swags of fruit, blossom, and foliage set the standard for English decorative carving. Coronation went on to become one of Community's most popular and longest-running patterns, which is why it turns up in so many American households — and why single pieces like this one are worth rescuing for people rebuilding a service.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSalad fork\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eOneida Ltd., Oneida, New York; Community silverplate line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFour-tine salad fork with reeded tapering handle, pierced fruit-and-floral cartouche, and squared terminal\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSilverplate over base metal\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eStamped to the reverse of the handle in a shaped cartouche\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1936–1960; pattern introduced 1936, sold in Britain as Hampton Court\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood vintage condition. Soft aged patina overall with darker tone held in the recesses of the ornament, and light surface scratching consistent with use. Tines are straight and even, the handle is true, and the pattern remains crisp with no through-wear to the plate on the high points. Ready to use or polish as preferred. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eSilverplate is the most quietly luxurious thing you can put on a table, and it costs a fraction of what people assume. Use this alongside whatever flatware you already own — a mixed table of patterns reads as collected rather than mismatched, and it is how most beautiful tables actually get set. It's equally at home in a utensil crock, as a serving piece for a cheese board, or as the single good fork you reach for. If you already have Coronation in the family, this fills a gap in a service that is otherwise difficult to complete.\u003c\/p\u003e\n\u003cp\u003eA note on care: hand wash in warm soapy water and dry immediately — silverplate tarnishes from moisture left standing, and dishwasher detergent will dull and eventually strip the plate. Polish sparingly with a proper silver cream and a soft cloth, and leave the darker tone in the recesses of the carving; scrubbing it bright flattens the ornament and thins the plate where it is most vulnerable.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003765076073,"sku":null,"price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/EDF7C3E3-73FD-4E04-B857-C8740452ED88_1_102_o.jpg?v=1788763876"},{"product_id":"maple-swivel-desk-chair-channel-tufted-back-with-nailhead-trim-c-1940-1960","title":"Maple Swivel Desk Chair, Channel-Tufted Back with Nailhead Trim, c. 1940–1960","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA mid-century wooden swivel desk chair of the kind that once furnished every bank, law office, and newsroom in America. The frame is solid hardwood in a warm honey finish, with back stiles that sweep up in a long shallow curve and cap the upholstery in a shaped crown rail — a detail that costs money to make and is the reason these chairs still look like furniture rather than office equipment.\u003c\/p\u003e\n\u003cp\u003eThe back panel is channel-tufted in caramel vinyl, four deep vertical rolls that catch light across the top and give the chair its silhouette from across a room. Turn it around and the reverse is the surprise: a single smooth panel bordered on three sides by a run of domed brass nailheads, finished as carefully as the front. The seat is a low-profile cushion in rust-toned woven tweed with a piped vinyl edge.\u003c\/p\u003e\n\u003cp\u003eUnderneath it is all mechanism. A four-arm wooden star base rides on original casters, and the column carries a cast-iron spring assembly with a threaded height adjustment and a tilt-tension knob — the same architecture Aeron chairs still use, executed in iron and hardwood eighty years earlier.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe wooden swivel chair is an American invention with a long pedigree — Thomas Jefferson is credited with an early version — but it came into its own between the 1920s and the 1950s, when firms across the Midwest and New York State supplied hardwood office seating to a country that had just built the modern white-collar workplace. Chairs like this were specified by the hundred for institutions, and they were built to survive that: hardwood frames, iron mechanisms, and replaceable upholstery.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes this example is the finishing. Channel tufting, a shaped crown rail, and hand-set nailhead trim on a surface most sitters would never see were the marks of the better manufacturers, not the budget ones. It has been used hard and honestly, and it has kept its structure — which is precisely what these chairs were engineered to do.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSwivel desk chair\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican office furniture; maker unattributed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eShaped hardwood frame with crown rail and channel-tufted back; upholstered seat on a four-arm wooden star base with casters, cast-iron spring column, threaded height adjustment, and tilt-tension control\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid hardwood in a honey finish; caramel vinyl back with domed brass nailhead trim; rust-toned woven tweed seat with piped vinyl edge\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo visible maker's mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1940–1960\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood structural condition with honest working wear. The frame is solid and tight, the swivel and height mechanisms are intact, and the original casters are present. The seat fabric is worn through at the front right corner with fraying to the edge, and the finish shows rubbing and handling marks along the back stiles and base arms. Vinyl back and nailhead trim are intact and supple. Sold as found. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA working antique in the truest sense: this is a chair you sit in every day, not one you look at. It brings warmth and real material to a home office where the alternative is molded plastic and mesh, and the compact footprint suits a desk in a bedroom, a corner of a living room, or a hallway workspace where a full executive chair would overwhelm. The honey frame and caramel vinyl sit naturally with walnut, oak, leather, brass, and vintage rugs.\u003c\/p\u003e\n\u003cp\u003eThe worn seat is the opportunity here. It's a single small cushion, straightforward for any upholsterer to recover, and a yard of good wool, leather, or mohair turns this into a genuinely handsome piece for a modest investment — or leave it as it is and let the wear read as history. A note on care: keep it out of direct sun, which hardens vinyl over time; feed the vinyl with a proper conditioner once or twice a year; and put a drop of light oil on the caster axles and the threaded column to keep the action smooth.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003934552169,"sku":null,"price":601.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3222.jpg?v=1788767105"},{"product_id":"pair-of-pennsbury-pottery-pennsylvania-dutch-plaques-courting-buggy-and-amish-family-morrisville-pa-c-1957","title":"Pair of Pennsbury Pottery Pennsylvania Dutch Plaques, Courting Buggy and Amish Family, Morrisville PA, c. 1957","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA pair of hand-decorated Pennsbury Pottery wall plaques in the Pennsylvania Dutch manner, each worked over a warm caramel ground that shows the throwing rings beneath the glaze and finished with a deep brown rim.\u003c\/p\u003e\n\u003cp\u003eThe first shows a courting scene: a young couple side by side in an open buggy behind a white horse, the girl in blue, the boy red-haired in black, a flowering branch arching overhead and a plump red heart cradled in green scrollwork below. The second is a family group — a woman in mustard-gold flanked by a boy in a broad black hat and a small girl in a bonnet, ringed with pink tulips on curling vines above a woven basket.\u003c\/p\u003e\n\u003cp\u003eWhat makes these worth having is the technique. Every outline is incised into the clay before glazing, so the drawing sits in a fine carved trench that the color settles into, and the painting is done freehand over the top — the brushwork varies, the faces have real character, and no two examples come out identical. Both are finished with a hanging hole to the reverse and the maker's mark inscribed by hand rather than stamped.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePennsbury Pottery was founded in 1950 by Henry and Lee Below at Morrisville, in Bucks County, Pennsylvania, on ground within sight of William Penn's own Pennsbury Manor. The Belows had come out of the Stangl works, and they built the pottery around a single idea: to make wares that celebrated the folk art of the Pennsylvania Germans — the Amish and Mennonite communities, the hex signs, the tulips, the distelfink, the carved and incised sgraffito redware of the eighteenth century — using those historic techniques rather than imitating them with decals.\u003c\/p\u003e\n\u003cp\u003eEverything was carved and painted by hand by a decorating staff working in the old idiom, and the pottery became one of the best-known American folk-art potteries of the postwar decades, sold through department stores and to visitors across the region. It closed in 1971 after bankruptcy, and a fire destroyed much of the works soon after, which ended production permanently and made the surviving pieces finite. Pennsbury has been steadily collected ever since. This pair carries the hand-inscribed Pennsbury Pottery mark with the date 1957 to the reverse.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePair of decorative wall plaques\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003ePennsbury Pottery, Morrisville, Bucks County, Pennsylvania\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eTwo round plaques with rolled brown rims and integral hanging holes to the reverse; also usable flat as trivets\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed earthenware with hand-incised sgraffito outlines and freehand polychrome decoration over a caramel ground\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eHand-inscribed “Pennsbury Pottery 1957” to the reverse\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1957; pottery operated 1950–1971\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good with age. Decoration is bright and complete on both, with crisp carved outlines and no fading. Each shows minor glaze nicks and small losses along the outer rim, consistent with pieces that hung on a wall for decades, and light overall wear to the ground. No cracks, and both hang true. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eHung as a pair these do real work on a wall. The scale is right for the places big art can't go — a kitchen backsplash wall, the space above a doorway, a stair landing, a breakfast nook, the narrow run beside a cabinet — and the caramel, black, and tulip-pink palette sits naturally against wood, ironstone, copper, and warm paint. Group them with other small plates and framed botanicals and they anchor the arrangement; hang them alone as a pair and they read as folk art rather than kitchenware.\u003c\/p\u003e\n\u003cp\u003eThey also carry a story worth telling at the table, which is the best argument for American folk pottery generally: made by hand, in a specific place, by people deliberately keeping a tradition alive. A note on care: hang from a sturdy hook sized to the hole rather than an adhesive hanger, keep them out of direct sun so the hand-applied colors stay saturated, and dust with a dry soft cloth. If they need more, a barely damp cloth is enough — never soak them, and never the dishwasher.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48003940941929,"sku":null,"price":262.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3214.jpg?v=1788767138"},{"product_id":"michael-innes-seven-suspects-berkley-medallion-paperback-f1158-the-first-inspector-appleby-mystery-1965","title":"Michael Innes, Seven Suspects, Berkley Medallion Paperback F1158, the First Inspector Appleby Mystery, 1965","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA vintage mass-market paperback with one of the better covers of its decade. The whole face is a flat pillar-box red, and the art is a single joke told perfectly: a black academic mortarboard laid over a heap of bones in the shape of a skull and crossbones, with a door key where the tassel should be, the whole set inside a white shield like a college coat of arms. Chunky white slab type stacks the author's name above the title, and a curved line along the bottom reads AN INSPECTOR APPLEBY MYSTERY.\u003c\/p\u003e\n\u003cp\u003eThe back is the same red, headed by a large white 7 and question mark over the publisher's blurb, a Will Cuppy notice, and a list of Berkley's other mystery authors — Nicholas Blake, John Creasey, the complete Conan Doyle. Inside, the paper has aged to a warm cream and the page block has taken on the soft fanned shape a paperback gets from being read rather than shelved. The front matter lists eleven other Innes titles then available in Berkley Medallion editions, each with its own catalog number and 50¢ price.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is where Inspector John Appleby begins. Published in Britain in 1936 as \u003cem\u003eDeath at the President's Lodging\u003c\/em\u003e and issued in the United States the following year under this title, it is the first novel Michael Innes ever wrote — the murder of a college president inside a sealed quadrangle, with seven distinguished Fellows to choose the killer from.\u003c\/p\u003e\n\u003cp\u003eMichael Innes was the pen name of J. I. M. Stewart, an Oxford don and literary scholar who wrote detective fiction on the side and effectively invented the donnish mystery: erudite, funny, packed with allusion, set among academics he knew intimately. Appleby ran through nearly fifty books across half a century and rose from Inspector to Commissioner of the Metropolitan Police, but this is the first case.\u003c\/p\u003e\n\u003cp\u003eThe object itself is a document of the American paperback boom. Berkley Medallion, catalog number F1158, priced at fifty cents, printed November 1965 by Berkley Publishing at 15 East 26th Street, New York, under license from Dodd, Mead. Books like this were sold from wire racks in drugstores and bus stations and were never meant to survive — which is exactly why an intact one with its cover art unfaded is worth keeping.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eMass-market paperback book\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eBerkley Publishing Corporation, New York; by arrangement with Dodd, Mead and Company\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003ePerfect-bound paperback with pictorial wraps; Berkley Medallion edition, November 1965, catalog F1158, cover price 50¢\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003ePrinted paper wraps over a paper page block\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eCopyright 1937 by Dodd, Mead and Company, renewed 1965; printed in the United States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1965 printing; novel first published 1936 as \u003cem\u003eDeath at the President's Lodging\u003c\/em\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood reading copy with honest wear. Heavy creasing across both covers and along the spine, rubbing and small surface losses to the front, bumped corners, and edge wear to the covers and spine ends. Pages are tanned to cream throughout, as newsprint-stock paperbacks of this date always are. Binding is sound, the page block is complete and firmly attached, and the cover art remains bright and unfaded. Sold as found. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eOld paperbacks are the cheapest good-looking thing in the antiques trade. That saturated red and the mortarboard-and-bones shield are genuine mid-century graphic design, and the book earns a spot face-out on a shelf, propped on a mantel, or framed flat as small graphic art. Stacked with two or three other vintage crime paperbacks it makes an instant vignette on a side table or a bar cart, and the red reads beautifully against dark wood, brass, and green paint.\u003c\/p\u003e\n\u003cp\u003eIt is also a book you can actually read, which is the better argument. Innes is very funny, the puzzle is properly constructed, and starting at the first Appleby novel means there are almost fifty more waiting if you like it. A note on care: keep it out of direct sunlight, which will fade that red faster than anything else, and store it upright or flat rather than leaning, since the spine is the weak point on a paperback this age. Handle it with dry hands and don't force the covers back — sixty-year-old glue does not forgive.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006194790505,"sku":null,"price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_0180_1fdb27db-a84d-4ea4-8f57-868615999a3f.jpg?v=1788811689"},{"product_id":"set-of-four-daisy-and-button-pressed-glass-fan-relish-dishes-assembling-into-a-round-tray-c-1930-1970","title":"Set of Four Daisy and Button Pressed Glass Fan Relish Dishes, Assembling into a Round Tray, c. 1930–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eFour pressed glass dishes, each shaped as an open folding fan, that fit together into a single round serving tray. It is a genuinely clever piece of design. Set apart, each one is a shallow wedge-shaped dish with a scalloped outer edge; pushed together, the four pivot points meet at the center and the pattern resolves into a complete circle with a scalloped rim, like a fan opened all the way around.\u003c\/p\u003e\n\u003cp\u003eThe design detail is what sells it. Each dish is molded as a real fan: a spread of fine radiating sticks at the narrow end, a raised rivet boss where the pivot would sit, and a curved loop of glass standing in for the handle. Above the sticks, the whole leaf of the fan is filled with Daisy and Button — alternating fields of many-pointed stars and faceted round buttons pressed deep into the glass. The clear glass carries a faint natural green cast in raking light, and the density of the pattern means the set throws light in every direction at once.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eDaisy and Button is arguably the most successful pattern in the history of American pressed glass. It appeared in the 1880s, when factories from Pennsylvania through the Ohio Valley were competing to give ordinary households the look of expensive cut crystal at a fraction of the price, and the design succeeded because it does the job better than almost any other: the deep-cut stars and raised buttons catch light from every angle. It was produced in enormous variety across the following century, in clear and in color, by more makers than can be counted.\u003c\/p\u003e\n\u003cp\u003eThe fan is a period signature of its own. Through the 1870s and 1880s Western taste was gripped by Japonisme, and the folding fan turned up everywhere — in painting, on wallpaper, on textiles, and pressed into glass. A relish or hors d'oeuvre service in four fan segments that close into a circle belongs squarely to that vocabulary, and the form was revived and reissued repeatedly through the twentieth century. This set carries no maker's mark, which is normal: pressed glass of this kind was identified by catalog number and paper label rather than a molded mark.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSet of four relish or hors d'oeuvre dishes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican pressed glass; maker unattributed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFour fan-shaped wedges with scalloped outer rims, molded fan sticks, rivet bosses, and looped handles; assemble into a round segmented tray\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eClear pressed glass in the Daisy and Button pattern\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked, as pressed table glass of this kind typically was\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930–1970; pattern introduced in the 1880s and produced across a century\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good with age. No chips, flea bites, or cracks to the scalloped rims, points, or handles, which are the vulnerable places on pressed glass this shape. The pattern is crisp throughout and the glass is bright and free of clouding. Two dishes carry spots of white paint or adhesive residue on the surface that should respond to careful cleaning. Sold as a set of four. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is a serving set that solves an actual problem. Assembled, it holds four things separately on one round footprint — olives, cornichons, nuts, and cheese; or dates, almonds, chocolate, and dried apricots — without four bowls crowding the board. Broken apart, each fan works alone as a spoon rest, a soap dish, a ring dish on a nightstand, or a small tray for a single course. Clear glass keeps the food the visual event and goes with any china you own.\u003c\/p\u003e\n\u003cp\u003eIt also photographs and displays beautifully when empty, which is not nothing: the assembled circle on a dark wood table or a bar cart reads as a piece of design rather than as tableware in storage. A note on care: hand wash in warm water with a soft brush to get into the buttons and star points, dry promptly so nothing dries in the pattern, and avoid the dishwasher entirely — detergent and heat etch pressed glass and permanently dull the facets that make it sparkle. To lift the paint spots, start with warm soapy water and a fingernail or a plastic scraper; if that fails, a little mineral oil left to soften the residue works better than anything abrasive.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006208421993,"sku":null,"price":98.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_0093.jpg?v=1788811797"},{"product_id":"set-of-six-damascene-marquetry-and-mother-of-pearl-coasters-with-fitted-caddy-syria-c-1940-1970","title":"Set of Six Damascene Marquetry and Mother-of-Pearl Coasters with Fitted Caddy, Syria, c. 1940–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eSix square coasters in Damascene mosaic marquetry, with the fitted caddy they were made for. Every coaster is built from hundreds of individual tesserae — slivers of bone, dark hardwood, rust-brown and green-stained wood, and mother-of-pearl — cut, bundled, and laid into a design of banded borders enclosing a field of eight-pointed stars.\u003c\/p\u003e\n\u003cp\u003eThe work rewards close looking. Concentric frames of black-and-white barber-pole banding step inward to a nested square, and the center holds a lattice of red-brown stars, each one carrying a tiny green-and-white triangular device at its heart, all floating on a ground of iridescent shell. Turn a coaster to the light and that ground shifts through pink, green, and silver while the geometry stays fixed — which is exactly what the technique is for.\u003c\/p\u003e\n\u003cp\u003eThe caddy repeats the same vocabulary at a different scale: checkerboard banding around the rim, star cartouches on each face, a scalloped front cut low so the stack can be lifted out, and a deep lacquered interior. Set together they read as one object rather than a coaster set with a box thrown in.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is Damascus work — the mosaic marquetry that has been the signature craft of the Syrian capital for centuries, and a direct cousin of Persian khatam-kari. The method is remarkable: the maker assembles slender rods of contrasting material into a bundle whose cross-section is the finished motif, glues the bundle solid, then slices it into wafer-thin sheets, each one carrying the complete pattern. Those sheets are laid onto a wooden carcass and polished flat. It is mass production and virtuosity at the same time, invented centuries before anyone thought of a factory.\u003c\/p\u003e\n\u003cp\u003eThe geometric vocabulary here — eight-pointed stars, interlaced bands, endlessly repeating fields — belongs to the Islamic decorative tradition, where pattern rather than figure carries the meaning, and it appears on Damascus furniture, doors, boxes, and backgammon boards alike. Sets like this one were made through the middle of the twentieth century for the domestic market and for travelers, and they came home in suitcases from Damascus, Cairo, and Bethlehem. Complete sets that still have their original caddy are far less common than the loose coasters that turn up alone.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSet of six coasters with fitted caddy\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eSyria, Damascus mosaic marquetry tradition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSix square coasters with lacquered undersides, housed in an open caddy with a scalloped front and lacquered interior\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eMicro-mosaic marquetry of bone, stained and natural hardwoods, and mother-of-pearl over a wooden carcass\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked, as this work traditionally is\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1940–1970\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood with honest age. The coasters are in very good order: patterns crisp and complete, shell bright, with light edge nicks and minor losses to a few border tesserae. The caddy shows more wear — chipping and small veneer losses along the top edges and corners, and rubbing to the banding, all consistent with a set that was used rather than shelved. Everything is structurally sound and the coasters seat properly in the caddy. Sold as found. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eCoasters are the one accessory guests actually pick up and turn over, which makes them worth getting right. These do the practical job and then reward the second look — the pattern is intricate enough that people ask about it. Keep the caddy on a bar cart, a coffee table, a desk, or a side table and the set reads as a small piece of decorative art even when nobody is drinking. The palette of cream, black, rust, and shell sits beautifully against walnut, brass, leather, and dark paint.\u003c\/p\u003e\n\u003cp\u003eA note on care: this is wood, bone, and shell over a wooden base, so it does not love water. Wipe spills promptly with a barely damp cloth, dry immediately, and never soak or wash them. Keep the set out of direct sun, which fades the stained woods and dulls the shell, and away from radiators and heating vents — dry heat is what lifts individual tesserae. An occasional touch of clear furniture wax buffed gently keeps the surface fed and the pieces tight.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006209339497,"sku":null,"price":164.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_0068.jpg?v=1788812329"},{"product_id":"cigarette-box-and-nesting-ashtray-set-ribbed-white-ceramic-with-applied-roses-c-1930-1950","title":"Cigarette Box and Nesting Ashtray Set, Ribbed White Ceramic with Applied Roses, c. 1930-1950","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA two-part smoking set in creamy white glazed ceramic, designed as a single object: a lidded box at one end for cigarettes, and an open well at the other holding a removable ashtray that lifts out on molded tabs. Slide the tray free and the tabs form little rests along the rim — a small piece of engineering solved with nothing but clay.\u003c\/p\u003e\n\u003cp\u003eThe box is wrapped on all four sides in tight vertical ribbing that reads like a pleated screen, and the lid rises from that into a radiating sunburst of molded rays. At the center sits a hand-applied bouquet: a full-blown rose, a trumpet blossom, and a scatter of leaves and buds, each petal pressed and attached by hand before firing, so no two examples are identical.\u003c\/p\u003e\n\u003cp\u003eThe whole surface carries a dense allover craquelure — a fine web of crazing that covers every panel and has developed over decades into something closer to a texture than a flaw. The ashtray well shows a soft amber bloom at its center from a working life of actual use.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe smoking set was once standard equipment in an American living room. Through the 1940s and 1950s, when smoking indoors was simply what people did, a matched box and tray sat on the coffee table of nearly every home that entertained — and manufacturers competed to make them decorative rather than merely functional. Ribbed and fluted bodies, molded sunbursts, and hand-applied porcelain flowers were the vocabulary of the moment, drawn from the tail end of Art Deco geometry crossed with the romantic floral revival that followed the war.\u003c\/p\u003e\n\u003cp\u003eApplied floral work is the detail that separates the better examples. Each blossom was formed by hand from soft clay and attached before glazing, which is slow, skilled, expensive work, and it is why these pieces survive as decorative objects long after their original purpose disappeared. This set carries no visible maker's mark, which is typical — giftware ceramics of the period were identified by a paper label at the point of sale.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCigarette box with nesting ashtray\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eJapan\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular ribbed case with a lidded compartment at one end and an open well at the other holding a removable ashtray with molded rests; sunburst lid with applied floral bouquet\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed ceramic in a warm ivory-white with hand-applied modeled flowers and leaves\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo visible maker's mark; originally paper-labeled, as giftware of the period typically was\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1930-50s\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood with genuine age and honest use. Dense allover crazing across every surface, consistent with a glaze of this date. Amber tobacco staining to the center of the ashtray well from its working life. Minor nicks and small losses to the tips of the applied flowers and leaves — the most fragile points on a piece like this — and light edge wear to the base. No cracks; the lid seats correctly and the tray lifts and returns cleanly. Sold as found. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eNobody needs a cigarette box, which is exactly why this one is useful. The lidded compartment is the right size for matches, playing cards, guitar picks, hair ties, paper clips, or the small things that otherwise live loose in a drawer, and the tray lifts out to hold rings, keys, or cufflinks on a nightstand. On a bar cart it becomes a spot for stir sticks and a place to set a lime. The ivory glaze and crazed surface sit naturally with brass, walnut, marble, and warm paint, and the sculptural lid means it earns its place even doing nothing at all.\u003c\/p\u003e\n\u003cp\u003eIt is also a genuinely good piece of period design — the kind of object people pick up and turn over. A note on care: crazed glaze is porous, so keep it dry, wipe with a barely damp cloth rather than washing, and never soak it or put it in the dishwasher, which drives moisture into the crazing and darkens the lines permanently. Handle the lid by its edges rather than the flowers; applied petals are the first thing to go.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006451757161,"sku":null,"price":198.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3452.jpg?v=1788828238"},{"product_id":"hand-blown-satin-spatter-glass-amphora-vase-mottled-sea-green-with-applied-pink-handles-c-1900-1950","title":"Hand-Blown Satin Spatter Glass Amphora Vase, Mottled Sea Green with Applied Pink Handles, c. 1900–1950","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA hand-blown amphora in mottled sea-green glass, built on the classical profile — a full round body drawing into a waisted neck that opens to a widely flared trumpet rim. The color is the achievement here: a dense mottling of turquoise and jade over an opaque white ground, broken into a fine cellular pattern that reads almost like sunlight through shallow water. No two square inches are the same.\u003c\/p\u003e\n\u003cp\u003eThe surface is satin rather than glossy, an acid-softened finish that mutes reflection and lets the color sit forward instead of bouncing light back at you. Against that quiet ground the maker set three applied elements in translucent rose pink: two handles running from the shoulder to the neck, each finishing in a tightly rolled curl at the top, and a spiral trail of pink glass wound five times around the neck between them. Every one of those was drawn and attached by hand while the piece was still hot.\u003c\/p\u003e\n\u003cp\u003eThe underside is finished with a ground and polished pontil, the mark left where the vase was held on the rod during blowing — the signature of hand production rather than a mold.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eMottled glass of this kind belongs to a tradition the trade calls spatter or end-of-day glass, perfected in the Bohemian glasshouses of what is now the Czech Republic through the decades either side of 1900. The technique is exactly what it sounds like: fragments of colored glass are rolled onto a gather of molten white, then blown out so the chips stretch and merge into a variegated skin. Add an acid bath afterward and the surface turns to satin.\u003c\/p\u003e\n\u003cp\u003eApplied handles and wound trails in a contrasting color are the other half of that vocabulary, and they descend directly from Roman and Venetian glassmaking, where the amphora form and the trailed neck were already ancient by the Renaissance. Bohemian houses turned out enormous quantities of this work for export, most of it unsigned, and it reached American parlors through department stores and import houses across the first half of the twentieth century. This example carries no mark, which is entirely normal for the category and no reflection on its quality — the evidence is in the pontil, the hand-drawn handles, and the fact that the trail is slightly irregular where a machine would be perfect.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eAmphora vase\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; in the Bohemian spatter-glass tradition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eBlown globular body with waisted neck and flared trumpet rim; two applied handles with rolled terminals and a five-turn applied neck trail; ground and polished pontil to the underside\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eHand-blown cased glass, mottled turquoise and jade over opaque white, with an acid-satin surface and applied rose-pink decoration\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked, as export art glass of this kind typically was\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1900–1950\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good with age. Both applied handles and the full neck trail are intact and firmly attached, with no chips, cracks, or losses to the rim, handles, or foot — the vulnerable points on blown glass with applied work. Colour is strong and even throughout. The satin surface carries light scuffing and scratching across the base from standing, and scattered pale surface deposits that should lift with careful cleaning. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is a colour piece, and it does something very few objects can: the green is saturated enough to anchor a shelf and soft enough not to fight the room. Put it where light can move across it — a windowsill, an open shelf, a mantel, a console against a dark wall — and the mottling shifts through the day. The satin finish means it glows rather than glares, and the pink handles give the eye somewhere to land.\u003c\/p\u003e\n\u003cp\u003eIt takes flowers beautifully, and the flared rim is generous enough for a full loose bunch rather than a stiff arrangement; a few stems of anything white, cream, or deep pink will look extraordinary against that green. Empty, it holds its own as sculpture. A note on care: hand wash in warm water only, support the body rather than lifting by the handles, and never use the dishwasher — heat and detergent will permanently dull an acid-satin surface. To clean the base deposits, start with warm soapy water and a soft cloth; avoid anything abrasive, which will scratch the satin finish and cannot be undone.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006457917545,"sku":null,"price":398.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3462.jpg?v=1788829385"},{"product_id":"signed-studio-pottery-bear-chef-spoon-rest-hand-built-speckled-stoneware-with-iron-oxide-and-cobalt-c-1970-1990","title":"Signed Studio Pottery Bear Chef Spoon Rest, Hand-Built Speckled Stoneware with Iron Oxide and Cobalt, c. 1970–1990","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA hand-built stoneware spoon rest in the shape of a bear's face under a soft baker's cap, cut freehand from a rolled slab of speckled clay. The outline follows the animal exactly — a ring of round curls framing the face, two ears, and the slumped brim of the hat folding over the top — so the piece has a proper silhouette rather than sitting in a plate.\u003c\/p\u003e\n\u003cp\u003eThe face is drawn with a needle tool straight into the wet clay: arched brows, three whisker strokes at each cheek, a curved snout line, and a wide recessed muzzle with a smile incised across it. The eyes are two pools of cobalt blue, the only strong color on the piece and exactly where the eye lands first. Around the face each curl is washed in rust-brown iron oxide, brushed on and left to pool darker in the incised lines, while the cap stays pale and freckled with the iron speckle that came up out of the clay body in the firing.\u003c\/p\u003e\n\u003cp\u003eThe recessed muzzle is the working part — a shallow well sized for a spoon or a tea bag. The reverse is left unglazed, showing the raw speckled body, with a hanging hole punched through the crown and the maker's signature incised by hand.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is American studio pottery from the long boom that ran from the late 1960s through the 1980s, when tens of thousands of potters worked out of home studios, community kilns, and college programs, and craft fairs across the country sold their work directly to the people who used it. Speckled buff stoneware, iron-oxide brushwork, and cobalt accents were the defining palette of that movement — honest materials, visible tool marks, and a deliberate rejection of the flawless factory surface.\u003c\/p\u003e\n\u003cp\u003eWhat separates a piece like this from the gift-shop version is that everything on it was done by hand and can be read: you can see where the needle dragged through the clay, where the oxide brush lifted, where the thumb pressed the muzzle down. It is also signed, which most production ware never is. The incised signature to the reverse appears to read\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eToby\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— the mark of a working potter rather than a factory, and the reason this piece is a small original rather than a copy of one.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSpoon rest or tea bag holder; also hangs as a wall plaque\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican studio pottery\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eHand-built slab, cut freehand to the silhouette of a bear's face in a baker's cap, with a recessed muzzle well, incised detailing, unglazed reverse, and a hanging hole to the crown\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSpeckled buff stoneware with iron-oxide wash and cobalt-blue glazed eyes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eIncised signature to the reverse, appearing to read Toby\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1970–1990\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood with honest wear. The face, oxide work, and cobalt eyes are crisp and complete, and the signature is clearly legible. Small chips and glaze losses appear along the outer edges of several curls and at the notch beside the cap, exposing pale body beneath. No cracks; the piece sits flat and hangs true. Sold as found. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003ePut it beside the stove and it does real work — the muzzle catches the drips off a wooden spoon, or holds a used tea bag between cups. Hang it on a kitchen wall and it becomes a small piece of folk art instead. Either way it is the kind of object that makes a kitchen feel lived in rather than staged, and the speckled cream and rust palette sits naturally against wood, copper, ironstone, and warm paint.\u003c\/p\u003e\n\u003cp\u003eIt also has an advantage almost nothing else at this price does: it is signed, one of a kind, and made entirely by hand by a person who was clearly enjoying themselves. Children love it, which is worth something too. A note on care: hand wash in warm water and dry it promptly — the reverse is unglazed and porous, so it should never soak, and the dishwasher will drive moisture into the raw clay. Hang it from a hook sized to the hole rather than an adhesive hanger, and lift it by the body rather than the ears.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006471614569,"sku":null,"price":67.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3467.jpg?v=1788829944"},{"product_id":"pierced-butterfly-orchid-pot-with-attached-saucer-oxblood-red-flambe-glaze-over-stoneware-c-1980-2010","title":"Pierced Butterfly Orchid Pot with Attached Saucer, Oxblood Red Flambé Glaze over Stoneware, c. 1980–2010","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA flared cylindrical pot in deep oxblood red, pierced through the walls with butterflies and four-petal blossoms and sitting on a saucer built as part of the same body. The profile is soft and slightly irregular — the rim undulates in a gentle quatrefoil rather than running true, and the walls swell where they were pressed — so the whole thing reads as made rather than manufactured.\u003c\/p\u003e\n\u003cp\u003eThe cutouts are the design. Each butterfly is fully articulated, two wings and a body, cut clean through the wall while the clay was leather-hard, and the blossoms between them open into four rounded petals. Where the tool went through, the glaze has pulled back and pooled dark along every cut edge, so each opening is drawn in near-black against the red. Light passing through turns them into silhouettes.\u003c\/p\u003e\n\u003cp\u003eThe glaze itself does the heavy lifting: a saturated raspberry red that breaks to smoky grey-violet at the rim, the ridges, and the foot, where it ran thin over the raised clay. It is the behavior of a flambé-type copper glaze — unpredictable in the kiln, different on every piece. The interior is glazed the same deep red, the saucer is pierced at its base for drainage, and the underside is left as raw clay.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePierced pots like this belong to the orchid-growing tradition. Orchids are epiphytes — in the wild their roots cling to tree bark in open air rather than sitting in soil — so the pots made for them are cut open at the sides to let air reach the roots and let water pass straight through. Growers in China, Japan, and Southeast Asia have made them for centuries, and the form spread worldwide with the orchid trade. The attached saucer is the practical half of the design: it catches what runs out without needing a separate dish that never quite matches.\u003c\/p\u003e\n\u003cp\u003eThe decoration follows the same logic as the function. Butterflies and blossoms are among the oldest auspicious motifs in Chinese decorative art — butterflies for joy and long life, flowers for the seasons — and cutting them through the wall turns ventilation holes into ornament. The copper-red glaze belongs to that world too, descending from the flambé and oxblood glazes the imperial kilns spent centuries perfecting. This example is unmarked, which is normal for garden and horticultural ware, and the felt pads on the base were added by a previous owner to protect a table.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eOrchid pot with attached saucer; equally a candle lantern\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; in the Asian pierced orchid-pot tradition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFlared cylinder with softly lobed rim, pierced butterfly and blossom cutouts, drainage to the base, and an integral saucer foot; unglazed underside with felt pads added\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed stoneware in an oxblood-red flambé-type glaze breaking to smoky grey at the rim and edges\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1980–2010\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, cracks, or losses to the rim, saucer, or the delicate bridges of clay between the cutouts — the vulnerable points on pierced work. Glaze is bright and even with the natural pooling and thin-breaking that the firing produced. Scattered pinholes and small glaze pops appear across the surface as fired. Felt pads on the underside are a later addition and lift off cleanly if unwanted. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eTwo jobs, and it is good at both. Plant an orchid, a small fern, or a trailing pothos in it and the cutouts do exactly what they were designed to do, while the attached saucer means you can set it on wood without a coaster. Or drop a pillar candle or a battery light inside and the butterflies throw across the wall — on a mantel, a bathroom shelf, a porch table on a summer evening, it becomes a lantern.\u003c\/p\u003e\n\u003cp\u003eThe color is the reason to own it either way. That raspberry red is deep enough to carry a shelf on its own and works hard against green foliage, dark wood, brass, and warm white walls. A note on care: this is glazed stoneware and it can live outdoors in mild weather, but bring it in before a freeze — water sitting in the drainage holes will expand and crack the body. Hand wash with warm water and a soft brush to reach into the cutouts, and if you plant directly in it, use a coarse orchid bark rather than potting soil, which will wash out through the openings.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006475939945,"sku":null,"price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3473.jpg?v=1788831322"},{"product_id":"pair-of-turned-oak-candlesticks-baluster-form-with-weighted-baize-lined-bases-c-1950-1980","title":"Pair of Turned Oak Candlesticks, Baluster Form with Weighted Baize-Lined Bases, c. 1950–1980","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA matched pair of candlesticks turned from solid oak, built on the classical baluster: a broad domed foot, a compressed knop above it, a full round belly, and a waisted neck opening to a flared cup. It is the same profile that governs a staircase newel or a table leg, reduced to hand scale, and it works for the same reason — every curve answers the one below it.\u003c\/p\u003e\n\u003cp\u003eThe turning is crisp. Fine incised rings mark each transition, the tool lines are still readable on the base where the gouge came across the end grain, and the flared cup finishes in a rolled lip. The wood shows the silvery ray fleck that only oak gives you, running in short bright dashes across the belly of each stick, and the warm brown stain has been rubbed to a low sheen that lets the figure come through rather than burying it.\u003c\/p\u003e\n\u003cp\u003eEach base is broad and heavy for the height — the reason a candlestick this size stays put — and finished underneath with a disc of green baize, the traditional treatment for protecting a polished tabletop. The sockets are drilled to standard taper size.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eTurned wooden domestic objects have their own name in the antiques trade: treen, from the old plural of tree. Before the middle of the nineteenth century almost every household ran on it — bowls, boxes, scoops, spoons, and candlesticks turned on a pole lathe by village craftsmen — and the woodturner was as ordinary a village figure as the blacksmith. Oak was the English default: hard, dense enough to hold a crisp edge on a turned ring, and figured with the medullary ray that gives quartersawn oak its flash.\u003c\/p\u003e\n\u003cp\u003eThe baluster silhouette these follow is older still, borrowed from classical architecture and carried into English domestic furniture through the seventeenth and eighteenth centuries. Pairs like this were turned throughout the twentieth century in that revival idiom, for people who wanted the shape of an old English interior at a price that made sense. They are unmarked, as turned treen almost always is, and the green baize underneath is the tell of a piece made to sit on furniture somebody cared about.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePair of candlesticks\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; in the English turned treen tradition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eBaluster stem with knop and waisted neck rising to a flared candle cup, on a broad weighted domed foot; drilled for standard taper candles\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid turned oak with visible ray fleck, stained warm brown and sealed; green baize discs to the undersides\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked, as turned treen typically is\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1980\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. Both sticks are solid and true with no cracks, splits, or losses, and they stand level. Turning is crisp throughout and the finish is even, with only light handling marks and minor scuffing to the base edges. Sockets are clean and free of old wax. Green baize is intact and firmly attached on both. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA pair of candlesticks is the fastest way to make a surface look considered. These are the useful height — tall enough to matter, short enough to see across at a dinner table — and the warm oak sits naturally with linen, ironstone, brass, pewter, and every wood tone you already own. Put them on a dining table, a mantel, a console, or either end of a bookshelf. They are also good unlit: the silhouette alone does the work, which is why turned treen keeps getting bought by people who never light a candle.\u003c\/p\u003e\n\u003cp\u003eThey take a standard taper, and beeswax in oak is one of the genuinely lovely combinations in a room. A note on care: wipe with a dry or barely damp cloth and feed the wood with a quality paste wax once or twice a year — nothing silicone-based, and never oil soap, which will lift the stain. Warm the socket with your hands and lift old wax out with a wooden skewer rather than digging with metal, and keep them out of direct sun, which will fade the stain unevenly over time.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006479675497,"sku":null,"price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3480.jpg?v=1788831539"},{"product_id":"coronet-limoges-chrysanthemum-charger-rococo-molded-rim-with-heavy-gilding-george-borgfeldt-c-1906-1920","title":"Coronet Limoges Chrysanthemum Charger, Rococo Molded Rim with Heavy Gilding, George Borgfeldt, c. 1906–1920","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA large French porcelain charger in the full Belle Époque manner, with a boldly molded rococo rim and a spray of chrysanthemums drifting across the well. The rim is the first thing you notice: deep undulating scallops, raised shell and scroll relief pressed into the blank itself, and a beaded inner edge, all finished in a wide band of matte gold that carries a bright burnished highlight along the outermost lip.\u003c\/p\u003e\n\u003cp\u003eThe decoration is loose and confident. Shaggy chrysanthemums in raspberry and shell pink open across the center, worked up against creamy whites and pale acid-greens, with a few tighter buds and a single rose tucked into the upper left. The palette stays deliberately soft — nothing is outlined, edges dissolve into the white ground, and the whole thing reads more like a watercolor than a china pattern. The porcelain beneath is the hard-paste Limoges body: thin, dense, and bright, and the light passes through the thinner passages when you hold it up.\u003c\/p\u003e\n\u003cp\u003eThe reverse carries the green Coronet crown mark and a second green whiteware mark, both under the glaze.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eCoronet was not a French factory. It was the mark of George Borgfeldt \u0026amp; Company of New York — one of the great American importing houses of the period — who commissioned porcelain blanks from the Limoges factories, had them decorated to their own specification, and stamped the results with their crown. The mark was in use roughly between 1906 and 1920, which dates this piece closely, and the presence of two marks is exactly what you would expect: one for the whiteware maker, one for the decorating and importing house.\u003c\/p\u003e\n\u003cp\u003eThe chrysanthemum is a period signal in itself. Western taste discovered the flower through the Japonisme wave of the 1870s and 80s, and by the turn of the century it had become the fashionable bloom of the age — a favorite of the Art Nouveau decorators for exactly the reason it appears here: the ragged, asymmetrical petals suit a loose painterly hand far better than a rose does. Limoges gilding of this weight was reserved for the better grades of the trade; the wide matte-and-burnished band on this rim is real gold, applied and fired, not a printed lustre.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCharger or cake plate\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eLimoges, France; decorated and imported by George Borgfeldt \u0026amp; Co., New York, under the Coronet mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eWide shallow plate with deeply scalloped rococo rim, molded shell and scroll relief, and beaded inner edge\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eHard-paste Limoges porcelain with polychrome floral decoration and a broad fired-gold rim band\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eGreen underglaze Coronet crown mark reading LIMOGES CORONET FRANCE, with a second green star-form Limoges whiteware mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1906–1920, the years the Coronet mark was in use\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good antique condition. No chips, cracks, hairlines, or restoration, and the porcelain rings true. Decoration is bright and unfaded. The gold rim shows honest wear with thinning and light rubbing along the raised high points of the scallops, as gilded porcelain of this age nearly always does, and a few small dark firing specks appear in the ground. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA charger this size is a decorating tool, not just a dish. Hang it on a wall — alone above a doorway, or as the anchor of a plate grouping — and the gold rim does the work of a frame. Lean it on a plate stand on a console, a mantel, or the back of a sideboard and it fills the space a small painting would, for considerably less. Use it as a cake stand top, a cheese board, or the base of a centerpiece and it earns its keep at the table.\u003c\/p\u003e\n\u003cp\u003eThe palette is the argument for it: soft pink, cream, and acid green against white, with a gold edge that picks up brass, candlelight, and warm wood. It sits as easily in a modern room as a traditional one, which is more than most antique porcelain can claim. A note on care: hand wash in warm — not hot — water with a soft cloth, and keep the gold out of the path of any scrubbing. Never the dishwasher and never the microwave; detergent strips fired gold in a single cycle and metallic gilding will arc. Store with felt or paper between plates rather than stacking bare.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006489014377,"sku":null,"price":264.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3486.jpg?v=1788832157"},{"product_id":"silk-embroidered-dresser-box-hand-worked-floral-panel-on-a-refinished-hardwood-case-c-1940-1970","title":"Silk Embroidered Dresser Box, Hand-Worked Floral Panel on a Refinished Hardwood Case, c. 1940–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA lidded dresser box with a padded panel of hand-embroidered silk set into the top. The ground is a warm mustard gold, and across it runs a band of coral and salmon blossoms worked in dense satin stitch, threaded through with olive and chartreuse leaves and a scatter of small cream daisies. The thread has a soft sheen that shifts as you move around it, and the panel is stuffed just enough to sit proud of its frame like a small cushion.\u003c\/p\u003e\n\u003cp\u003eThe needlework rewards a close look. Every petal is filled with parallel stitches laid at an angle, which is what makes them catch light in blocks rather than as a flat wash, and the leaves are worked in a longer stitch that gives them a different texture altogether. Small variations in the direction and density — the odd stitch running against its neighbors, the coral shading unevenly from stem to edge — are the evidence that a person did this by hand, one stitch at a time, rather than a machine.\u003c\/p\u003e\n\u003cp\u003eThe case is a shaped hardwood box with a stepped ogee profile to the sides and a molded frame around the lid, which lifts off cleanly rather than hinging. The grain carries dark mineral streaks that read as figure rather than damage, and the interior is left as plain wood.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe embroidered dresser box belongs to a long domestic tradition. Boxes like this sat on a bedroom dresser or dressing table holding handkerchiefs, gloves, hairpins, or jewelry, and the embroidered lid was very often the work of the woman who owned it — needlework being one of the few forms of decorative art most households could produce at home. Silk floss on a silk ground, worked in satin stitch, was the finer end of that practice: expensive thread, slow work, and no way to correct a mistake.\u003c\/p\u003e\n\u003cp\u003eThe palette places it. Mustard gold with coral, olive, and chartreuse is a mid-century combination, and the loose asymmetric spray of blossoms is a long way from the tight symmetrical patterns of Victorian needlework. The embroidered panel is original and untouched; the wooden case was refinished in-house by Walter Hinchman for The Hinchman Collective, bringing the grain and the ogee molding back up without stripping the character out of the wood.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eDresser or handkerchief box\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; the embroidery is hand-worked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular case with stepped ogee sides and a lift-off lid framed in molded wood, holding a padded embroidered panel; plain wood interior\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eStained hardwood case with a silk panel hand-embroidered in silk floss\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1940–1970\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The embroidery is complete and bright with no losses, pulls, or unraveling, and the silk ground is sound with light overall toning and faint soiling at the edges consistent with age. The refinished case is solid and clean, the lid seats correctly, and the joints are tight. Dark mineral streaks in the grain are natural to the wood. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the box you actually put things in. It is the right size for rings and earrings on a nightstand, cufflinks and a watch on a dresser, stamps and paper clips on a desk, or the small objects that otherwise migrate into a drawer and disappear. Because the lid lifts off entirely rather than hinging, you can set it aside and use the base open when you want to.\u003c\/p\u003e\n\u003cp\u003eIt also does something a plain box cannot: the embroidered top is a small piece of textile art, and gold and coral against warm wood makes it a genuine spot of color on a surface that probably needs one. It reads beautifully beside brass, linen, and other wood tones. A note on care: keep it out of direct sunlight, which fades silk faster than any other material in the house, and never wet the panel — dust it with a soft dry brush rather than a cloth, which can catch a stitch. Set drinks and anything damp elsewhere, and lift the lid by its wooden frame rather than pressing on the embroidery.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006695944297,"sku":null,"price":78.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3491.jpg?v=1788834744"},{"product_id":"the-morris-apron","title":"The Morris Apron, Heavy-Duty Washed Denim with Embroidered Botanical Monogram","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA working apron in heavy-duty washed denim, cut in a bib silhouette and finished in a black that has been softened rather than left flat — the wash gives it depth and a broken-in hand from the first wear instead of the third year. The denim carries a water- and stain-resistant finish, so a splash of stain, water, or coffee beads and wipes rather than soaking straight through. Across the chest, our botanical V monogram is embroidered in cream: the flourished serif letter wrapped in acanthus leaf, stitched rather than printed, so it holds its edge through every wash.\u003c\/p\u003e\n\u003cp\u003eThe build is where the money goes. Three pockets — a chest pocket sized for a phone, a pencil, or a tag gun, and two deep front pockets that take a rag, shears, a tape measure, or a fistful of hardware. Antiqued brass rivets sit at the pocket corners where the pull is worst, the shoulder straps adjust and snap at the bib in the same brass, and the sides stay open below the waist so the apron moves with you rather than binding when you crouch to a bottom shelf.\u003c\/p\u003e\n\u003ch3\u003eThe Making\u003c\/h3\u003e\n\u003cp\u003eWe chose this apron for the work we actually do — hauling, refinishing, staging, wrapping, arranging — after trying the alternatives and finding them wanting. Most of what you can buy is either a chef's apron that ignores tools or a shop apron built with no eye at all. This one is heavy-duty denim, the fabric of work clothes for a century and a half, cut with real pockets and finished to shed a spill instead of drinking it.\u003c\/p\u003e\n\u003cp\u003eIt is named for the Morris, the 1931 building on East Fourth Street in Reno where the shop lives — a hotel on what was then the Lincoln Highway, the first road to cross the country, and now part of the East Fourth Street Historic District. Naming an apron after a building is not sentimentality. It is the same idea we sell across the floor: things made to last get used, then reused, and eventually they belong to a place.\u003c\/p\u003e\n\u003cp\u003eThe monogram is the same botanical V that appears on our packaging and our door, embroidered because embroidery is the honest version — thread laid into cloth, not a film sitting on top of it, and the one method that still looks right after a hundred washes. This is the apron our own team wears in the shop, which is the only endorsement worth making.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eBib apron with adjustable straps\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eHeavy-duty washed denim in black, with a water- and stain-resistant finish\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eThree pockets — one chest, two deep front; antiqued brass rivets at the pocket corners and stress points; adjustable shoulder straps with brass snap closures at the bib; open sides below the waist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eViridian Eclection botanical V monogram, embroidered in cream thread to the chest\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFit\u003c\/td\u003e\n\u003ctd\u003eUnisex; straps adjust to the wearer\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCare\u003c\/td\u003e\n\u003ctd\u003eMachine wash cold on a gentle cycle, tumble dry low or hang to dry; wash separately for the first few cycles as washed denim releases loose dye. Do not bleach; do not iron directly over the embroidery\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eIn stock and restocked regularly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch3\u003eWhy You'll Reach For It\u003c\/h3\u003e\n\u003cp\u003eAn apron is the piece of clothing that decides whether you start a job or put it off. This one is heavy enough to stop a splinter, a splash of stain, or a wet rag, and good-looking enough that you will not take it off when someone knocks at the door. Wear it for refinishing, potting, arranging, cooking, printmaking, or a Saturday spent moving furniture around a room until it is right.\u003c\/p\u003e\n\u003cp\u003eIt also breaks in the way good denim does — the black softens, the creases set where your body puts them, and after a year it looks like yours and nobody else's. That is the argument for buying the sturdy one once instead of the cheap one repeatedly. A note on care: wash it cold and separately at first, skip the bleach, and if it needs pressing, iron around the monogram rather than over it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006733430889,"sku":null,"price":78.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/FEFF48D9-803D-43E5-9A03-A5222A6BCC07.png?v=1788836941"},{"product_id":"onyx-and-brass-desk-set-with-rolling-perpetual-calendar-and-twin-pen-holders-c-1950-1970","title":"Onyx and Brass Desk Set with Rolling Perpetual Calendar and Twin Pen Holders, c. 1950–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA desk set built on a single slab of banded onyx — milk white shot through with drifting bands of honey and amber, no two inches alike, polished to a soft glassy sheen. The stone is the whole foundation: heavy enough that nothing on it shifts, and cool to the touch in a way no substitute manages.\u003c\/p\u003e\n\u003cp\u003eMounted across the back is a rolling perpetual calendar, a brass barrel capped at both ends in chrome, with three small windows reading day, date, and month. Thumb the chrome end caps and the drums turn inside, clicking through TUE to WED, 8 to 9, SEP to OCT. It is a mechanism with no battery, no cord, and nothing to fail — you simply move it forward each morning, which is the small daily ritual that makes people love these.\u003c\/p\u003e\n\u003cp\u003eAt each end, a black tapered pen funnel rises from a turned brass collar, angled outward so a pen sits ready rather than flat. Between them, an oval brass plate is set flush into the stone, left blank for engraving. The underside is finished in green baize.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe onyx desk set belongs to the executive office of the mid-twentieth century, when a desk was a statement of position and the objects on it were chosen accordingly. Sets like this were the standard gift for a promotion, a retirement, or a twenty-fifth anniversary with a firm — which is exactly why so many carry an engraved plate, and why this one, left blank, is the more useful version.\u003c\/p\u003e\n\u003cp\u003eThe stone is banded onyx-marble, quarried and worked in Mexico, Italy, and Pakistan through these decades and shipped worldwide for exactly this purpose. The rolling perpetual calendar is the older idea: mechanical desk calendars of this drum type date to the nineteenth century and were still being made through the 1970s, long enough that they became shorthand for a certain kind of office. This example carries no maker's mark, which is normal for the category — these were sold under retailer and gift-house names rather than manufacturer marks.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eDesk set with perpetual calendar and two pen holders\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed; onyx of the type worked in Mexico and Italy for the desk trade\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular onyx slab mounted with a brass drum perpetual calendar with chrome end caps, an inset oval brass plate, and two pen funnels on turned brass collars; green baize underside\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eBanded onyx-marble in white and honey, brass, chrome, and black composition\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eUnmarked; the oval plate is blank and ready for engraving\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1970\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good with age. The calendar drums turn freely and all three windows advance correctly through day, date, and month. Onyx is sound with no cracks or chips, showing the natural pits and inclusions the stone is quarried with. Brass has mellowed to a warm patina with light surface marks, and the chrome caps remain bright. Pen funnels are secure and the baize underside is clean and intact. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA working desk deserves one object that isn't plastic, and this is it. The calendar earns its place by requiring something of you — a few seconds each morning to advance the date, which is a better way to start at a desk than looking at a screen. The stone anchors a corner of the surface and stops paper from wandering, and the pen funnels keep two good pens upright and reachable instead of rolling into a drawer.\u003c\/p\u003e\n\u003cp\u003eIt also reads beautifully in a room that isn't an office. On a console, a shelf, or a bedside table it works as sculpture, and the white-and-honey stone sits naturally with brass, walnut, leather, and cream. The blank oval is a genuine opportunity: engrave a name, a date, or nothing at all. A note on care: onyx is softer than granite and porous, so wipe it with a barely damp cloth rather than any cleaner, and never let alcohol, citrus, or vinegar sit on it — they etch the polish permanently. Leave the brass to its patina, or bring it up with a proper metal cream on a cloth, keeping it off the stone.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006956580969,"sku":null,"price":322.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3503.jpg?v=1788844202"},{"product_id":"darceau-limoges-noel-vitrail-christmas-plate-la-purification-andre-restieau-with-original-factory-case-1978","title":"D'Arceau-Limoges “Noël Vitrail” Christmas Plate, La Purification, André Restieau, with Original Factory Case, 1978","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA French porcelain plate painted as a stained-glass window. The central roundel shows the Presentation at the Temple — Mary in deep blue offering the infant Christ to Simeon, Joseph behind her with a candle, each figure haloed in gold and set into a lattice of leaded glass rendered in scarlet, cobalt, and sky blue. Every panel of colour carries the mottled, uneven wash of real medieval glass rather than flat printing, and the black leading is drawn heavily enough that the design reads correctly from across a room.\u003c\/p\u003e\n\u003cp\u003eA gothic inscription runs around the roundel in illuminated capitals, and a second border of gothic foliage — blue, red, ochre, and rose on black — circles the rim. The porcelain beneath is bright white Limoges hard paste, and the whole thing has the quality that makes the format work: from a few feet away you stop seeing a plate and start seeing a window.\u003c\/p\u003e\n\u003cp\u003eThe reverse carries the full blue underglaze mark, the title, the artist's commentary in his own hand, and his initials. It comes with its original moulded factory shipping case, embossed HENRI D'ARCEAU \u0026amp; FILS, LIMOGES FRANCE around a fleur-de-lis.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is the fourth plate in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNoël Vitrail\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseries — Christmas Stained Glass — issued by D'Arceau-Limoges for Christmas 1978 and designed by André Restieau, the artist responsible for the whole series. Restieau worked in the tradition of the great French cathedral windows, and the format was chosen deliberately: a circular plate is the closest thing in tableware to a rose window.\u003c\/p\u003e\n\u003cp\u003eWhat makes this example better than most is the reverse. Alongside the mark, the title\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLa Purification\u003c\/em\u003e, and the edition number, Restieau wrote out his own note on the subject — explaining that he tried to convey the awe Simeon felt when Mary presented him the fulfilment of the promise, and that the candle Joseph holds stands for Christ as the light in Simeon's famous prayer, which he then quotes:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ea light to lighten the nations, and the glory of thy people Israel\u003c\/em\u003e. Very few decorative plates carry the artist explaining his own intention in his own handwriting.\u003c\/p\u003e\n\u003cp\u003eIt is marked Première Édition and numbered BQ 779, and it still has the original D'Arceau factory case it shipped in — almost always discarded, and the reason a collector completing this series would choose this one.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCollector's plate with original factory shipping case\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eHenri D'Arceau \u0026amp; Fils, Limoges, Haute-Vienne, France\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRound plate, approximately 8½ inches, with central roundel and gothic foliate rim border; wire hanger fitted to the reverse\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eLimoges hard-paste porcelain with polychrome stained-glass decoration\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eBlue underglaze D'Arceau-Limoges mark, Porcelaine de Limoges France, Première Édition, Assiette No. BQ 779; titled Noël Vitrail 4ème: La Purification with the artist's commentary and initials to the reverse; signed A. Restieau 77 in the design\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1978, the fourth issue in the Noël Vitrail series\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. No chips, cracks, hairlines, or crazing, and the porcelain rings true. Decoration is bright and fully saturated with no fading or rubbing. Original moulded factory case is present and sound, showing shelf wear consistent with storage. A wire plate hanger is fitted to the reverse; the display easel shown is not included. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eHang it where light will reach it. The whole design is built on the logic of a window, and against a white or limewashed wall the reds and blues do something no framed print manages at this size — they read as illuminated rather than printed. It works alone above a doorway or in a stair turn, and it anchors a plate wall beautifully, since the black leading gives it more graphic weight than the florals it will hang beside.\u003c\/p\u003e\n\u003cp\u003eIt is also a genuinely good Christmas object: seasonal without being kitsch, and substantial enough to bring out every December and put away in its own case in January. A note on care: this is decorative rather than dinnerware, so keep it off the table and out of the dishwasher entirely. Dust with a dry soft cloth, wipe only with a barely damp one, and keep it out of prolonged direct sun, which will eventually dull the reds. Store it in the factory case with a sheet of tissue over the face.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006957826153,"sku":null,"price":298.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3508.jpg?v=1788844469"},{"product_id":"drueke-pocket-clapper-game-no-154-walnut-dice-and-peg-game-with-original-rules-and-case-grand-rapids-c-1965-1983","title":"Drueke “Pocket Clapper Game” No. 154, Walnut Dice-and-Peg Game with Original Rules and Case, Grand Rapids, c. 1965–1983","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA pocket game cut from a solid block of walnut, small enough to close a hand around. The face carries nine drilled holes in a row, numbered 1 through 9 in crisp cream lettering, with POCKET CLAPPER GAME and the model number set around them in the same type. The wood is close-grained and warm, finished to a low sheen that shows the figure without gloss.\u003c\/p\u003e\n\u003cp\u003eThe clever part is underneath. The block is hollowed into a long oval cavity that holds the two dice and the full set of pegs, and a fitted wooden panel slides across to close it. Everything the game needs lives inside the game itself — no box to lose, no bag to tear. The pegs are turned plastic in yellow and blue with rounded heads, and they seat into the numbered holes with a click.\u003c\/p\u003e\n\u003cp\u003eIt still has its original printed rules slip, and the clear hinged case it was sold in.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eDrueke is a name that means something to people who care about games. William F. Drueke \u0026amp; Sons of Grand Rapids, Michigan spent most of the twentieth century making chess sets, cribbage boards, backgammon, and pocket games in hardwood, and they built a reputation on the same thing this piece demonstrates: real wood, tight tolerances, and a design that solves its own storage problem.\u003c\/p\u003e\n\u003cp\u003eThe game itself is the old tavern game of Shut the Box, translated into pegs. You throw two dice and peg out holes summing to the total — nine and six can close the 9, or the 6 and 3, or the 3, 4, and 2 — and you keep throwing until you cannot use a complete total. Your score is what is left unpegged, and low score wins. Simple enough to teach in thirty seconds, and genuinely hard to play well.\u003c\/p\u003e\n\u003cp\u003eThe rules slip dates it fairly closely. It carries a five-digit ZIP code, which puts it after the ZIP system began in 1963, and no ZIP+4, which points to before that format arrived in 1983.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePocket dice-and-peg game with original rules and case\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eDrueke Games, 601 3rd Street NW, Grand Rapids, Michigan\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSolid walnut block with nine numbered peg holes to the face and a hollowed storage cavity behind a sliding wooden panel; supplied with two dice, pegs in yellow and blue, printed rules slip, and clear hinged case\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid walnut with printed lettering; plastic pegs and dice\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003ePrinted POCKET CLAPPER GAME No. 154 to the face; rules slip marked Drueke Games, Grand Rapids, Michigan 49504\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1965–1983\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. The walnut is clean and sound with no cracks or splits, the printed lettering is bright and complete, and the sliding cover moves freely. Pegs seat correctly in every hole and both dice are present with sharp pips. Original rules slip is intact with light handling creases. The clear case shows minor scuffing consistent with storage. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the object you want in a coat pocket, a glovebox, a carry-on, or the drawer of a side table. It takes two minutes to learn, it plays in five, and it works across a restaurant table, on a plane tray, or on a porch step with a drink beside it. Children pick it up immediately, which is not nothing, and it does arithmetic on them without their noticing.\u003c\/p\u003e\n\u003cp\u003eLeft out, it earns its place too — a small block of figured walnut with nine holes and crisp lettering reads as an object rather than a toy, and it sits comfortably on a bar cart, a desk, or a stack of books. A note on care: keep the pegs and dice in the cavity rather than loose in the case so nothing goes missing, and store it away from heat and direct sun, which will fade the printed numbers before they wear off. A little clear paste wax once a year keeps the walnut fed; skip oils and anything silicone-based.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006966673513,"sku":null,"price":92.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3519.jpg?v=1788845446"},{"product_id":"hand-painted-porcelain-chocolate-pot-pink-cabbage-roses-with-gold-and-black-banding-paneled-body-and-pierced-scroll-finial-c-1900-1925","title":"Hand-Painted Porcelain Chocolate Pot, Pink Cabbage Roses with Gold and Black Banding, Paneled Body and Pierced Scroll Finial, c. 1900–1925","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA tall covered pot built on the chocolate-pot line — narrow at the shoulder, tapering the whole way down to a hexagonal scalloped foot, with a domed lid rising to a pierced scroll finial. The body is lightly paneled, so the light breaks across it in facets rather than sliding around a plain cylinder, and the handle is a deep scroll with gilt worked along its ridges.\u003c\/p\u003e\n\u003cp\u003eThe painting is the reason to own it. Pink cabbage roses are laid across the front in full bloom, open-faced and slightly blowsy, with grey-green foliage worked in behind them and a soft blush ground fading out toward the edges. The brushwork is loose in the leaves and tight in the flower centres, which is what hand-painting looks like when someone knew what they were doing — and the petals carry the small variations in loading and pressure that a transfer print cannot fake.\u003c\/p\u003e\n\u003cp\u003eGold and black striped banding rings the lid, the rim, and the foot, and the gilding runs the handle and the finial. The base carries a green underglaze factory mark.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe tall narrow form is not a coffee pot and not a teapot. Drinking chocolate was served thick, made in a pot built high and slim so the liquid could be poured from a height into tall narrow cups without going cold or separating — and the shape stayed in production long after the ritual around it relaxed. A coffee pot of the same period sits lower and wider; a teapot sits lower still with the handle set opposite the spout. This one is a chocolate pot, and it was made to be brought to a table where people were paying attention.\u003c\/p\u003e\n\u003cp\u003ePieces like this came out of a two-stage trade. Factories produced white porcelain blanks in quantity; decorating shops and independent painters bought them plain and painted them. Between roughly 1880 and the 1920s that second stage was an enormous business on both sides of the Atlantic, and the naturalistic rose — painted from life, not from a pattern book — was its signature subject. The heavy gold, the black-and-gold banding, and the confident loose foliage all place this in the first quarter of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eThe green mark under the base belongs to the factory that made the blank, not to whoever painted it, and it is worn past the point where it can be read with confidence. We are not going to assign it a maker on a guess. What can be said honestly is that this is hand-painted work on a good hard porcelain body, complete with its lid, which is where most of these pots have failed over the last century.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCovered chocolate pot, hand-painted porcelain\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed. A green underglaze factory mark is present on the base but is not legible enough to identify the maker.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eTall tapering paneled body with high shoulder pouring lip, deep scrolled handle, domed lid with pierced scroll finial, raised on a hexagonal scalloped foot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003ePorcelain, hand-painted in polychrome enamels with gilt and black banding\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eGreen underglaze mark to the base, partially legible; no decorator's signature observed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1900–1925\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good, with honest age. The pot and its original lid are both present and the painted decoration is bright and complete. There is wear to the gilding on the high points — the handle ridges, the rim banding, and the finial — where a century of handling has thinned it. Scattered dark specks are visible in the glaze, characteristic of period firing. A few black scuff marks sit near the foot rim from contact with other surfaces. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA tall covered pot does something on a shelf that a low one cannot: it gives you vertical line. Set it on a sideboard, a hutch, or a kitchen open shelf and it holds the eye at the top of the arrangement while shorter pieces gather beneath it. The roses read from across a room, and the black-and-gold banding keeps it from going saccharine — this is a soft palette handled with a firm edge, which is why it sits comfortably in a modern room rather than reading purely as grandmother's china.\u003c\/p\u003e\n\u003cp\u003eUse it if you like. It will pour cocoa on a winter morning, hold mulled cider on a holiday table, or take a loose handful of garden stems with the lid set aside. A note on care: wash it by hand in warm water with mild soap and dry it immediately. Gilding is the first thing to go — keep it out of the dishwasher entirely, never put it in a microwave, and avoid abrasive pads and citrus-based cleaners on the gold. Store it with the lid resting in place rather than wedged, and give the finial the same respect you would give a handle.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48006969622633,"sku":null,"price":277.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3520.jpg?v=1788845827"},{"product_id":"the-morris-overall-washed-black-denim-with-embroidered-cream-botanical-monogram","title":"The Morris Overall, Washed Black Denim with Embroidered Cream Botanical Monogram","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA washed black denim overall, cut full through the hip and thigh and tapering just enough at the ankle to cuff without bunching. The black has been washed down rather than left flat — it lifts to a soft charcoal along the seams, the pocket edges, and the crease lines, so it arrives already looking like something you have worn rather than something you just bought.\u003c\/p\u003e\n\u003cp\u003eThe bib carries a single deep patch pocket, and on it, our botanical V worked in cream thread: the same monogram that hangs on the door at the Morris. Straps run over the shoulder and adjust through metal sliders, buttoning through at the bib. At the waist there are belt loops and a buttoned tab on each side, so the fit can be taken in or let out without touching the straps. Two hand pockets sit at the front hip, deep enough to be useful rather than decorative.\u003c\/p\u003e\n\u003cp\u003eIt is a proper overall, not a costume version of one — the hardware is functional, the seams are flat-felled where they take load, and nothing about it is trying to look distressed.\u003c\/p\u003e\n\u003ch3\u003eThe Making\u003c\/h3\u003e\n\u003cp\u003eWe do not manufacture denim, and we are not going to pretend otherwise. We chose this overall the same way we chose the apron: by ordering the alternatives, wearing them in the shop, and keeping the one that held its shape. Most of what we tried was either stiff enough to fight you for a month or thin enough to go through at the knee in a season. This one sits in the middle, which is the hard place to find.\u003c\/p\u003e\n\u003cp\u003eThe monogram is embroidered after the fact, one garment at a time, in cream thread against the black. It is the botanical V drawn for Viridian Eclection — a letterform grown through leaves and a rising bud, the same mark on our door, our paper, and the apron. Embroidery rather than print, because print sits on top of denim and eventually leaves; stitching goes into it and fades at the same rate as the cloth around it.\u003c\/p\u003e\n\u003cp\u003eEverything in the Goods line is named for the Morris, the 1931 building on East Fourth Street where the shop lives. The Morris Apron came first. This is the second.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eBib overall, washed black denim\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eWashed black denim with antiqued metal hardware\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eAdjustable shoulder straps with metal sliders and button-through bib attachment; belt loops with buttoned side tabs at the waist for fit adjustment; one deep bib patch pocket; two front hand pockets\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eViridian Eclection botanical V monogram, embroidered in cream thread on the bib pocket\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFit\u003c\/td\u003e\n\u003ctd\u003eRelaxed through the hip and thigh with a slight taper to the ankle; cut to be cuffed or worn full length. Straps and side tabs both adjust, so the fit can be dialed in without alteration.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCare\u003c\/td\u003e\n\u003ctd\u003eMachine wash cold, inside out, with like colors. Wash separately the first few times — washed black denim releases indigo. Tumble dry low or hang to dry. Do not iron directly over the embroidery; press from the reverse if needed. No bleach.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eIn stock and restocked regularly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch3\u003eWhy You'll Reach For It\u003c\/h3\u003e\n\u003cp\u003eAn overall solves a problem that trousers do not: it covers the front of you, it carries things, and it never needs a belt or a second thought. We wear these in the shop for exactly that reason — hauling, refinishing, staging a window, standing on a ladder at eight in the morning. The bib pocket takes a phone, a tape measure, or a pencil, and the hip pockets take everything else.\u003c\/p\u003e\n\u003cp\u003eOutside the shop it reads differently. Cuffed over a boot with a plain tee underneath, it is one of the few genuinely useful garments that also looks considered, and the washed black keeps it from tipping into farm-costume territory. It gets better with washing, which is the honest test of any denim. Buy it to work in and it will still be the thing you reach for on a Saturday.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48007150108777,"sku":null,"price":158.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/Screenshot2026-09-07at11.52.02PM.png?v=1788850329"},{"product_id":"the-morris-overall-washed-cotton-cargo-bib-overall-with-embroidered-botanical-monogram-in-washed-black-and-field-olive","title":"The Morris Overall, Washed Cotton Cargo Bib Overall with Embroidered Botanical Monogram, in Washed Black and Field Olive","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA cargo bib overall cut wide and worn loose — full through the seat and thigh, straight to the ankle, and long enough to take a deep roll cuff over a boot. This is not a slim overall with pockets added. The whole line of it is generous, and the weight of the cloth is what keeps that volume reading as intentional rather than sloppy.\u003c\/p\u003e\n\u003cp\u003eSeven pockets, and every one of them earns its place. A deep patch pocket on the bib carries our botanical V, embroidered in outline: the same monogram that hangs on the door at the Morris. Below the bib, two snap-flap pockets sit at the waist where your hands naturally fall. Two more open at the hip for warmth or for keys. And on each thigh, a full cargo pocket under a snapped flap — sized for a tape measure, a phone, a folding rule, or a fistful of hardware you did not plan on carrying.\u003c\/p\u003e\n\u003cp\u003eThe straps run over the shoulder and adjust through metal sliders, hooking down to the bib. Antiqued shank buttons close the side tabs at the waist, so the fit takes in without touching the straps. The cloth is washed before it ever reaches you, faded along the seams, the pocket edges, and the crease lines.\u003c\/p\u003e\n\u003cp\u003eOffered in two colorways: Washed Black, with the monogram picked out in cream, and Field Olive, with the monogram worked tonally in a deeper shade of the ground.\u003c\/p\u003e\n\u003ch3\u003eThe Making\u003c\/h3\u003e\n\u003cp\u003eWe do not weave cloth or sew garments, and we are not going to pretend otherwise. What we do is specify, and then hold the maker to it. This overall is produced for us to our own spec: heavyweight cotton rather than a blend, and metal hardware throughout, because plastic snaps fail exactly when you are carrying something.\u003c\/p\u003e\n\u003cp\u003eThe monogram is embroidered rather than printed. Print sits on top of cotton and eventually leaves; stitching goes into the cloth and fades at the same rate as everything around it, which means the mark ages with the garment instead of peeling off it. It is the botanical V drawn for Viridian Eclection — a letterform grown through leaves and a rising bud — the same mark on our door, our paper, and the apron.\u003c\/p\u003e\n\u003cp\u003eEverything in the Goods line is named for the Morris, the 1931 building on East Fourth Street where the shop lives. The Morris Apron came first. This is the second.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCargo bib overall, offered in Washed Black and Field Olive\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eHeavyweight washed cotton with antiqued metal hardware\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eSeven pockets — one bib patch pocket, two snap-flap waist pockets, two open hip pockets, and two flapped thigh cargo pockets. Adjustable shoulder straps with metal sliders and hook-down bib attachment; buttoned side tabs at the waist for fit adjustment; snap closures throughout.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eViridian Eclection botanical V monogram, embroidered on the bib pocket — cream on Washed Black, tonal on Field Olive\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFit\u003c\/td\u003e\n\u003ctd\u003eCut wide and worn loose: full through the seat and thigh, straight to the ankle, and long enough to roll a deep cuff. Straps and side tabs both adjust, so the fit can be dialed in without alteration. Size down for a closer line, or take your usual size for the volume as shown.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCare\u003c\/td\u003e\n\u003ctd\u003eMachine wash cold, inside out, with like colors. Wash separately the first few times — washed cotton gives up dye. Tumble dry low or hang to dry. Do not iron directly over the embroidery; press from the reverse if needed. No bleach on either colorway.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eIn stock and restocked regularly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ch3\u003eWhy You'll Reach For It\u003c\/h3\u003e\n\u003cp\u003eAn overall solves a problem trousers do not: it covers the front of you, it carries things, and it never needs a belt or a second thought. We wear these in the shop for exactly that reason — hauling, refinishing, staging a window, standing on a ladder at eight in the morning. With seven pockets you stop setting things down, which is the single largest cause of losing them.\u003c\/p\u003e\n\u003cp\u003eOutside the shop it reads differently. Cuffed over a boot with a plain tee underneath, the wide leg is the whole point — this is the silhouette people are actually wearing, cut in cloth heavy enough to hold it. Washed Black goes anywhere. Field Olive is the one you will reach for more often than you expect. Both get better with washing, which is the honest test of any cotton garment. Buy it to work in, and it will still be the thing you put on for a Saturday.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48007696384105,"sku":null,"price":128.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ViridianEclectipnBibOveralls.png?v=1788853430"},{"product_id":"crackle-glaze-square-trinket-dish-ivory-with-sponged-amber-border-decorative-ceramicware","title":"Crackle-Glaze Square Trinket Dish, Ivory with Sponged Amber Border, Decorative Ceramicware,","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small square dish with softly canted corners and a low upturned rim, glazed in a warm ivory that runs to a fine web of crackle across the whole face. The crackle is deliberate — a craquelé glaze, formulated to fracture as it cools — and it catches light in a way a flat white never does, giving a piece this size more visual weight than its footprint suggests.\u003c\/p\u003e\n\u003cp\u003eAround the edge, amber runs in irregular dashes: a sponged or brushed iron-oxide border laid on by hand, heavier at the corners where the glaze pooled, thinning to almost nothing along the straights. No two edges match, which is the tell that a person did it rather than a machine. The underside is unglazed within a neatly wiped square, ringed in the same amber where the glaze stopped.\u003c\/p\u003e\n\u003cp\u003eIt measures roughly four inches square and sits about half an inch tall.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe base carries an impressed marking that dates this piece precisely, and it is worth understanding. It reads\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNot for Food Use. May Poison Food.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— one of three warning statements the US Food and Drug Administration requires to be permanently molded or fired into the base of ornamental ceramicware that is not intended to hold food. That requirement took effect on 13 July 1994, which means this dish was made after that date. There is no earlier example of this exact marking, and it is why the era given here starts where it does rather than at a guess.\u003c\/p\u003e\n\u003cp\u003eWhat it tells you is straightforward: the maker declared this piece decorative rather than tableware. Lead and cadmium in a glaze produce colours and depth that lead-free formulations struggle to match, and manufacturers who wanted those effects were permitted to keep making them provided the piece was marked and sold as ornament. This is that bargain, in a four-inch square.\u003c\/p\u003e\n\u003cp\u003eThe form and the glaze both point to East Asian decorative export production, but there is no maker's mark beyond the required warning, and we are not going to assign it one.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eDecorative trinket dish — ornament only, not for food use\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No maker's mark is present; the base carries only the required regulatory warning.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSquare dish with canted corners and low upturned rim, approximately 4 inches square and ½ inch tall; recessed unglazed base\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed ceramic — ivory craquelé glaze with a hand-sponged amber oxide border\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eImpressed to the base:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNot for Food Use. May Poison Food.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— the permanent warning required by the US FDA on ornamental ceramicware from 13 July 1994 onward\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1994–2010\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. The glaze is bright and unworn, the crackle is original to the formulation rather than damage, and the rim is free of chips, flakes, or losses. A few minute dark specks are present in the glaze from firing. The unglazed base shows light shelf soiling. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eSmall dishes are the quiet workhorses of a well-arranged room. This one lives on a nightstand holding rings and a watch, on a dresser catching cufflinks and collar stays, beside a sink for a bar of soap, or on a desk gathering paper clips and the loose screws you will need in a week. Set on a bookshelf with a small stand, the crackle and the hand-laid amber edge give it enough presence to read as an object rather than a container.\u003c\/p\u003e\n\u003cp\u003eA note on use, and we want to be plain about it: this dish is marked by its maker as ornamental, and it should never hold food, drink, salt, spices, or anything that will go into a mouth — including a stick of gum or a mint. Keep it dry, wipe it with a soft damp cloth rather than soaking it, and keep it out of the dishwasher, which will attack both the crackle and the painted border. Used as an ornament and a catch-all for hard objects, it will outlast all of us.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48007993589865,"sku":null,"price":56.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/Screenshot2026-09-08at1.07.13AM.png?v=1788854853"},{"product_id":"two-tier-tray-top-occasional-table-mahogany-with-gallery-rim-reeded-apron-and-splayed-legs-c-1915-1935","title":"Two-Tier Tray-Top Occasional Table, Mahogany with Gallery Rim, Reeded Apron, and Splayed Legs, c. 1915–1935","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small two-tier table with a tray top — the top surface set down inside a raised gallery lip that runs the full perimeter, so anything placed on it stays put. The grain across the top is straight and even, running the length of the table in warm reddish-brown ribbons, and the finish sits low and satin rather than glassy.\u003c\/p\u003e\n\u003cp\u003eBeneath the top, the apron is worked in three stepped reeds that carry all the way around. It is a simple profile, run rather than carved, but it does the essential thing: it puts a band of shadow between the top and the legs so the table reads light instead of slab-heavy. Small shaped brackets fill each leg-to-apron junction, curved on their inner edge, which is both structural and the only ornament the piece allows itself.\u003c\/p\u003e\n\u003cp\u003eFour legs splay outward in a slow curve to the floor, tapering as they go. Between them, at the lower level, sits a second shelf with a serpentine front and back edge, cut from a board with a broad flame figure that is considerably more dramatic than the top. Whoever built it saved the showy board for the shelf and used the quiet one where things would be set down.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe tray-top table with a lower shelf came out of the tea-service tradition, where the raised gallery kept cups from walking off the edge as the table was carried or nudged, and the shelf below held the pot and the spare saucers. By the early twentieth century the form had detached itself from the ritual and become simply a very good small table, and it was produced in quantity by American and English cabinet shops through the twenties and thirties.\u003c\/p\u003e\n\u003cp\u003eThe construction tells you where this one sits. The joinery is notched and screwed rather than doweled, the screws are slotted throughout, and each one is set into a chiseled recess cut by hand rather than a machined counterbore. Slotted screws stayed in furniture use for decades, so they do not date a piece on their own, but hand-cut seating alongside machine-run apron moulding is a specific combination — a shop working with power tools for the repetitive profiles and hand tools for the fitting. That is the first third of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eThe underside of the shelf carries a yellow chalk inscription in a working hand, reading as a street number and name. Marks like these are almost never the maker. They are written by movers, auction porters, or estate-sale crews to say where a piece is going, and they survive because nobody bothers to wash the underside of a table. It is not provenance in the documented sense, but it is a real trace of the object's working life, and we have left it exactly as found.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eTwo-tier occasional or tea table with tray top\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No maker's label, stamp, or brand is present.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular tray top within a raised gallery lip over a three-step reeded apron; four splayed tapering legs with shaped brackets at the apron junctions; serpentine-edged lower shelf\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eMahogany with a figured shelf board; original dark stain retained on the underside\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eYellow chalk inscription to the underside of the lower shelf, reading as a street number and name; no maker's mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1915–1935\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The frame is tight and sits level with no wobble at the joints, and the gallery lip is complete and unbroken on all four sides. The upper surfaces have been refinished, and the finish is clean and even; the underside and shelf reverse retain their original dark stain. Minor shrinkage checks are present in the shelf board where it meets the leg notches, stable and typical of a solid board of this age. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is the table you want beside a reading chair. The gallery lip means a glass, a mug, and a stack of books stay where you put them, and the lower shelf takes the overflow — the magazines, the remote, the thing you meant to deal with. It is narrow enough to fit where a full side table will not, and tall enough to reach from a seated position without leaning.\u003c\/p\u003e\n\u003cp\u003eIt also works as an entry table in a tight hall, a nightstand where a drawer is not needed, or a drinks table at the end of a sofa. The splayed legs give it a lighter footprint than its size suggests, which matters in a small room. A note on care: keep it out of direct sun, which will lift the color out of mahogany faster than anything else, and use a coaster — a refinished top is a good finish, not an indestructible one. Wipe with a barely damp cloth, dry it immediately, and give it clear paste wax once or twice a year. Skip the spray polishes, which build a haze that has to be stripped later.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48008873017449,"sku":null,"price":326.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3532.jpg?v=1788859520"},{"product_id":"mid-century-modern-magazine-and-record-rack-two-bay-open-frame-with-splayed-tapered-legs-and-brass-ferrules-c-1955-1970","title":"Mid-Century Modern Magazine and Record Rack, Two-Bay Open Frame with Splayed Tapered Legs and Brass Ferrules, c. 1955–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eAn open two-bay rack built from almost nothing: two upright end panels, four horizontal rails, and a center divider, standing on four splayed legs. There is no back, no bottom you cannot see through, and no ornament anywhere on it. The design works entirely by proportion and by the rhythm of the gaps between the rails, which is the harder way to make furniture and the reason this still looks current.\u003c\/p\u003e\n\u003cp\u003eThe end panels are cut from a wood with a soft rippled figure, finished in a warm honey amber that goes almost golden where the light crosses it. Against that, the center divider and the legs are stained a deep walnut brown — a deliberate two-tone contrast, and the single design decision that gives the piece its whole character. The divider is cut with an angled shoulder rather than a square one, so it reads as a shape rather than a board.\u003c\/p\u003e\n\u003cp\u003eThe legs are the detail worth stopping on. Each is turned to a slim cone, splayed outward, stained dark, and finished with a polished brass ferrule at the floor. They mount on stamped metal plates screwed up into the underside, which is exactly how this generation of furniture was built — the leg system was engineered separately from the case and bolted on.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe splayed tapered leg with a brass foot, mounted on a stamped metal plate, is one of the most reliable postwar dating markers in American furniture. The system arrived with the shift to lighter, off-the-floor case goods after the Second World War, spread through the mid-fifties, and was standard by the early sixties. It let a factory build a simple box and turn it into something that appeared to float. Once you have seen the metal mounting plate, you know roughly when you are.\u003c\/p\u003e\n\u003cp\u003eThe form belongs to a specific moment in the American living room. Records and magazines both arrived in volume in the fifties, both were awkward to store, and neither belonged in a cabinet where you could not see the spines. The open two-bay rack solved it by standing beside a chair, holding everything upright and visible, and taking up almost no floor. Twelve-inch LPs stand in it comfortably; so do oversized art books, sheet music, and folded newspapers.\u003c\/p\u003e\n\u003cp\u003eThe underside carries a stencilled letter B. Single-letter marks like this are factory assembly or batch codes — a line worker's shorthand for which run or which station a part came from — not a maker's mark. There is no label, brand, or stamp identifying the manufacturer, and we are not going to attach a name to it on the strength of a leg style that a hundred companies used.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eMagazine and record rack, open two-bay frame\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnattributed. American, in the postwar idiom; no maker's label or brand is present.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eTwo upright end panels joined by four horizontal rails with a shaped center divider, creating two open bays; raised on four splayed tapered legs with brass ferrules, mounted on stamped metal plates\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eFigured hardwood in a honey amber finish with walnut-stained divider and legs; brass ferrules; unfinished plywood underside\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eStencilled letter B to the underside — a factory batch or assembly code, not a maker's mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1955–1970\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The frame is square and rigid with no racking, all four legs are original and securely mounted, and the brass ferrules are intact with a warm unpolished patina. The finish is clean and even across both tones. There is minor edge chipping to the lower corner of one end panel and light handling marks consistent with use. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003ePut it beside a chair and it does one job perfectly: it holds the things you are actually reading or playing, upright and in reach, without hiding them. Records stand where you can flip through them, which is the entire point of owning records. Magazines stop sliding off the coffee table. Large-format art books, which fit nowhere else, fit here.\u003c\/p\u003e\n\u003cp\u003eIt also earns a spot where nothing else quite works — the gap beside a sofa, the wall under a window, the end of a hallway. The open frame means it takes up visual space without taking up visible space, and the brass feet catch enough light to read as a considered object rather than storage. A note on care: the finish is original, so treat it gently. Dust it dry, wipe spills immediately, and keep it out of direct sun, which will pull the amber toward orange over time. Leave the brass alone — the soft patina is correct, and polishing it bright is the fastest way to make a sixty-year-old piece look like a reproduction.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48008974336105,"sku":null,"price":378.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3541.jpg?v=1788860874"},{"product_id":"imari-porcelain-covered-trinket-box-gosho-guruma-and-phoenix-decoration-in-iron-red-black-and-gold-japan-c-1960-1985","title":"Imari Porcelain Covered Trinket Box, Gosho-Guruma and Phœnix Decoration in Iron Red, Black, and Gold, Japan, c. 1960–1985","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small round covered box in white porcelain, decorated edge to edge in the Imari palette — iron red, deep green, black, and gold, with touches of violet, yellow, and cobalt. The lid sits flush inside a fitted rim and lifts away cleanly. The whole thing is about the size of a teacup saucer and half as tall.\u003c\/p\u003e\n\u003cp\u003eThe lid carries a full scene rather than a pattern. A\u003cspan\u003e \u003c\/span\u003e\u003cem\u003egosho-guruma\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— the ox-drawn court carriage of the Heian aristocracy — is drawn in green and violet with a spoked black wheel and blue ribbons trailing from its shafts, set against a ground of stylised cloud-and-wave. Around it, red camellia and white plum blossom crowd the field with bamboo leaves scattered between, and a\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ehō-ō\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ephœnix sweeps in from the left with its tail feathers streaming in red, green, and violet.\u003c\/p\u003e\n\u003cp\u003eThe rim is banded in black with gilt scrollwork and red cartouches. The sides continue the same vocabulary in panels: carriage, blossom, and peacock feathers, separated by narrow bands of black-and-gold key fret framed in red. Gilding outlines nearly every panel, and it has worn in places, which is what gold on porcelain does when a piece has been picked up and set down for decades.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eImari takes its name from the port on Kyūshū through which Arita porcelain shipped to Europe from the seventeenth century onward. The palette that came to be called Imari — underglaze blue with overglaze iron red and gold — became one of the most influential decorative schemes in the world, copied at Meissen, at Worcester, at Derby, and eventually everywhere. Two centuries later the style was still being made in Japan, and it is that continuing tradition, not the seventeenth century, that this box belongs to.\u003c\/p\u003e\n\u003cp\u003eThe base tells you so plainly. It is marked IMARI in Latin capitals alongside Japanese characters, and it retains part of its original gold foil import label — enough of it to read APAN, from MADE IN JAPAN. Foil labels of this kind, together with the Latin lettering, place the piece firmly in the later twentieth-century export trade rather than the antique period. The decoration is transfer-printed with gilding applied over it, which is how these were produced in quantity for the gift and department-store market.\u003c\/p\u003e\n\u003cp\u003eNone of that is a mark against it. It is a well-drawn, densely decorated piece of Japanese export porcelain in excellent order with its lid intact, and it is honestly what it is: Imari in style and in descent, made in the second half of the twentieth century. We are not going to call it antique Arita, and no one selling it as such is telling you the truth.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eCovered trinket or dresser box\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eJapan. No individual kiln or decorating house is identified beyond the Imari mark.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRound straight-sided box with flush-fitting lift-off lid and recessed foot ring\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eWhite porcelain, transfer-printed in polychrome enamels with hand-applied gilding\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003ePrinted to the base: IMARI in Latin capitals with Japanese characters; partial gold foil import label reading APAN, from MADE IN JAPAN\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1960–1985\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. Both box and lid are present, the lid seats correctly, and the enamel colours are bright and unfaded with no crazing. There is light wear to the gilding on the raised rim and panel outlines from handling. The original foil label survives in part and is torn, as these labels almost always are. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eA lidded box earns its keep in a way an open dish never can. This one takes rings and earrings on a dresser, cufflinks and a collar stay on a bureau, paper clips and stamps on a desk, or a single small thing you would rather not explain to anyone. The lid means the contents stay put and out of sight, which is the entire argument for owning one.\u003c\/p\u003e\n\u003cp\u003eVisually it does a specific job: it introduces red. Most rooms are short of a true iron red, and a small object carrying a great deal of it will lift a shelf of neutrals more effectively than something three times its size. Set it on a stack of books, in a bathroom, or beside a lamp where the gold can catch light. A note on care: this is decorative porcelain with overglaze enamel and gilding, so wash it by hand in cool water with mild soap, never in a dishwasher, and keep it out of the microwave entirely. Do not scrub the gilded rim — the gold is applied over the glaze and will come away under an abrasive.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48009806348393,"sku":null,"price":66.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3547_aaaa9043-6d44-45d0-9004-6555cd6a0a21.jpg?v=1788864641"},{"product_id":"bostitch-model-g27w-plier-style-staple-remover-chrome-plated-steel-with-sprung-jaw-c-1975","title":"Bostitch Model G27W Plier-Style Staple Remover, Chrome-Plated Steel with Sprung Jaw, c. 1975","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA plier-style staple remover in bright chrome-plated steel. The upper handle is pressed into a long spoon curve with BOSTITCH raised in block capitals across the top, and it sits on a broad flared base plate that gives the tool a wide, stable footprint on a desk. Between them, a coil spring holds the jaws open until you press down.\u003c\/p\u003e\n\u003cp\u003eThe working end is two narrow steel blades that meet in a shallow V. You set the tool over a staple, squeeze once, and the blades slide beneath the crown and lift it straight up. It is a lever, a spring, and two edges, and there is nothing in it to fail.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eBostitch began in 1896 as the Boston Wire Stitcher Company, founded in Arlington, Massachusetts by Thomas Briggs around a machine that stitched books from a coil of wire. The firm took the name BOSTITCH in 1948 — a compression of Boston and stitch — and moved to East Greenwich, Rhode Island in 1957, where it is still headquartered. It has been owned by Textron, then Stanley Works, and now Stanley Black \u0026amp; Decker.\u003c\/p\u003e\n\u003cp\u003eThe plier-style remover is the better of the two designs on the market. The familiar alternative — the small hinged claw with four teeth — works by prying, which tears paper and bends staples into shapes that are worse than what you started with. This one lifts from beneath the crown instead, so the staple comes out intact and the sheet underneath survives. Anyone who has spent a day going through a filing cabinet knows the difference immediately.\u003c\/p\u003e\n\u003cp\u003eWe should be straightforward about age: this is not an antique. The base is stamped MODEL G27W and MADE IN TAIWAN, and the G27W has been in production for a long stretch and is still made. What it is instead is a properly engineered tool from a company that has been making fastening equipment for well over a century, in a form that has not needed to change.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003ePlier-style staple remover\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eBostitch. Stamped MADE IN TAIWAN.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSprung two-piece lever with curved upper handle and flared base plate; twin lifting blades set in a shallow V\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eChrome-plated steel with a coil spring and riveted pivots\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eBOSTITCH raised on the upper handle; underside of the base plate stamped BOSTITCH with STAPLE REMOVER and MODEL G27W over MADE IN TAIWAN\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eNot individually dated. The G27W is a long-running model still in production.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good working order. The spring has full tension and returns the jaws cleanly, the pivots are tight with no side play, and the blades meet correctly. The chrome is bright overall with light surface scratching and handling marks consistent with desk use. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eMost desk tools sold now are moulded plastic in a colour someone chose to match a catalogue page. This is chromed steel with a spring in it, and it will still be working when the plastic ones have cracked at the hinge. If you handle paper — files, contracts, tax records, anything stapled and later unstapled — it is the correct tool for the job and it costs almost nothing.\u003c\/p\u003e\n\u003cp\u003eIt also looks like something. Sitting on a desk beside a brass lamp or a leather blotter, the curve of the handle and the flare of the base read as considered rather than disposable. A note on care: keep it dry, since chrome over steel will spot if it sits damp, and put a drop of light oil on the pivots once a year if it starts to feel stiff. Do not use it as a pry bar for anything other than staples — the blades are ground thin and they are the one part you could ruin.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48010011050089,"sku":null,"price":66.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3551.jpg?v=1788866058"},{"product_id":"japanese-porcelain-standing-photo-frame-iris-and-hummingbird-panels-with-kikko-diaper-and-gilt-banding-c-1965","title":"Japanese Porcelain Standing Photo Frame, Iris and Hummingbird Panels with Kikkō Diaper and Gilt Banding, c. 1965","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA standing photo frame made entirely of porcelain — not a porcelain plaque set into wood or metal, but a single moulded piece with the easel worked into the back. The outline is a rectangle with the four corners cut away, and the aperture inside repeats that octagon, so the eye travels around the same shape twice.\u003c\/p\u003e\n\u003cp\u003eThe border is divided into eight panels, alternating in a strict rhythm. The four long panels carry Japanese iris rising on grey-green blade leaves, the flowers drawn in iron red and soft yellow with the falls turned outward. Two of those panels add a small hovering bird with a long straight bill, wings blurred mid-beat. The four corner panels are filled with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ekikkō\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— the tortoiseshell honeycomb — each hexagon centred with a four-petal flower in red on cream. Bronze-gold banding separates every panel and runs the full outer edge.\u003c\/p\u003e\n\u003cp\u003eThe back is as considered as the front: a deep recess, a horizontal slot along the top for sliding a photograph in, and a broad fan-shaped prop that folds down from the body to stand the frame at an angle. It is marked JAPAN on the prop.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe iris is one of the fixed subjects of Japanese decorative art.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHanashōbu\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ebloom in early summer and are tied to the fifth-month festival, and they appear in everything from Ogata Kōrin's screens to Meiji cloisonné to the Yatsuhashi passage in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTales of Ise\u003c\/em\u003e, where a traveller sees irises at an eight-plank bridge and is moved to write about home. Set against\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ekikkō\u003c\/em\u003e, a pattern borrowed from the tortoise and read as a wish for long life, the border is speaking a real decorative language rather than assembling generic flowers.\u003c\/p\u003e\n\u003cp\u003eThe bird is the exception, and it is worth knowing. It reads as a hummingbird — the hovering posture, the long straight bill, the blurred wings — and hummingbirds are a New World family that has never occurred in Japan. That is not an error so much as a signature of the export trade: pieces made in Japan for American and European buyers frequently blended traditional motifs with imagery the destination market recognised and liked. The frame is Japanese; the hummingbird is aimed at the person who bought it.\u003c\/p\u003e\n\u003cp\u003eThe base carries only JAPAN, with no maker's name, no importer, and no pattern number. Marked simply JAPAN rather than Occupied Japan, it postdates 1952, and the transfer-printed decoration with applied gilt places it in the giftware production that ran strongly from the mid-sixties into the eighties. We are not going to attach a factory to it on the strength of a style.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eStanding photograph frame\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eJapan. Marked JAPAN only; no maker or importer is identified.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eOne-piece porcelain frame, cut-corner rectangle with matching octagonal aperture; integral fan-shaped easel prop and horizontal photograph slot to the reverse\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eWhite porcelain, transfer-printed in polychrome enamels with bronze-gold banding\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eJAPAN printed in black to the reverse easel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1965–1985\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The frame is sound with no chips, cracks, or restoration, the easel prop is intact and holds the frame upright, and the printed decoration is crisp and unfaded. There is light rubbing to the gilt banding along the outer edges and corners where the frame has been handled, and faint surface soiling in the recess behind the aperture. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eMost photo frames are trying to disappear. This one is not, and that is the argument for it. The border does more work than the photograph inside it, which makes it the right frame for a small snapshot that would look lost in anything plainer — a wallet portrait, a passport-sized picture of a grandparent, a square print off a phone. On a bedside table, a hall shelf, or a stack of books, it reads as an object first and a frame second.\u003c\/p\u003e\n\u003cp\u003eIt also earns its place empty. Stood on a shelf with nothing in it, the octagonal aperture frames whatever sits behind, and the iris panels carry enough colour to anchor a group of plain ceramics. A note on care: the gilding is applied over the glaze, so dust it with a dry soft cloth and keep abrasives and household sprays away from the banding entirely. Slide photographs in from the top rather than forcing them through the aperture, and set it where it will not be knocked — the easel prop is porcelain, and it is the part that would break.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48021443182697,"sku":null,"price":67.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/Screenshot2026-09-08at8.35.25PM.png?v=1788924951"},{"product_id":"imperlux-frosted-white-glass-ashtray-with-applied-gilt-cartouches-and-gold-banding-czechoslovakia-c-1955-1965","title":"Imperlux Frosted White Glass Ashtray with Applied Gilt Cartouches and Gold Banding, Czechoslovakia, c. 1955–1965","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA low round ashtray with a full, rounded body that swells outward from the base and turns in again at the top — a shape closer to a covered pot than to the flat discs the word ashtray usually calls to mind. The exterior is frosted to a soft matte white; the well inside is glossy opaque white, so the piece reads as two different materials from two feet away.\u003c\/p\u003e\n\u003cp\u003eTwo heavy gilt cartouches sit opposite one another on the body, each an oval in raised relief filled with symmetrical scrollwork and edged in a beaded border. They are the whole design, and they are unusually thick — the gold stands proud enough to catch a fingernail. Between and around them the frosted surface is scattered with fine gold mottling, laid on lightly enough to read as texture rather than pattern.\u003c\/p\u003e\n\u003cp\u003eAround the shoulder run three gold bands, one broad and two fine, and the well is rimmed in gold. Four shallow notches are cut into the rim as cigarette rests. The base carries its original gold foil label, still legible.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe label is the reason to take this piece seriously. It reads IMPERLUX beneath a crown, with HAND MADE and MADE IN CZECHOSLOVAKIA on the banner. According to the Corning Museum of Glass, Imperlux was a trademark held by the Imperial Crystals \u0026amp; China Co. of New York — an importer and distributor rather than a factory — applied to mouth-blown and hand-cut glass brought in from Germany and Czechoslovakia. Corning holds Imperlux trade catalogues dated 1957–58 and 1976–77, which is what places this piece in the third quarter of the twentieth century rather than at a guess.\u003c\/p\u003e\n\u003cp\u003eThat means the glass itself is Bohemian. Czechoslovakia's glasshouses spent the postwar decades supplying the American market in enormous volume, and decorated white glass with heavy gilding was one of the things they did better and cheaper than anyone. The frosted body with applied gold relief is a Bohemian formula going back to the nineteenth century, worked here in a mid-century idiom.\u003c\/p\u003e\n\u003cp\u003eWhat we cannot tell you is which works made it. Imperlux was a brand stamped on imported goods, not a maker's mark, and Corning is explicit that no records survive identifying the factories behind it. The country is certain, the importer is certain, the glasshouse is not.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth align=\"left\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eAshtray\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eCzechoslovakia, imported by Imperial Crystals \u0026amp; China Co., New York, under the Imperlux trademark. The manufacturing glasshouse is not identified.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eLow round body of swelling profile with an inset well and four cut cigarette rests to the rim\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eOpaque white glass, acid-frosted to the exterior, with applied gilt relief cartouches, gold mottling, and gilt banding\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eOriginal gold foil label to the base: IMPERLUX beneath a crown, with HAND MADE and MADE IN CZECHOSLOVAKIA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1955–1980\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The glass is sound with no chips, cracks, or flakes to the rim, well, cartouches, or base. The gilding is bright and substantially complete, with light rubbing to the raised relief on the cartouches and to the broad shoulder band where the piece has been handled. The original foil label is present and legible with minor edge loss. 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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eNobody needs an ashtray. That is precisely why this one is useful — freed from its original job, it becomes a small heavy vessel that holds keys by a door, rings beside a sink, paper clips on a desk, or a single fat candle. The notches read as ornament once you stop thinking of them as cigarette rests, and the weight means it stays where you put it.\u003c\/p\u003e\n\u003cp\u003eAs an object it does something specific: white and gold together, in matte and gloss, is a combination that lifts a dark surface. Set it on a walnut side table, a black lacquer tray, or a stack of books and it will pull light into the corner it sits in. A note on care: the gilding is applied over the glass surface and the raised relief is the vulnerable part, so wash by hand in warm water with mild soap and dry with a soft cloth. Never use an abrasive pad, a bleach-based cleaner, or a dishwasher — any of the three will strip the gold. If you want to keep the foil label intact, and you should, avoid soaking the base.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48021467234409,"sku":null,"price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/Screenshot2026-09-08at8.39.36PM.png?v=1788925206"}],"url":"https:\/\/viridianeclection.com\/collections\/new-arrivals.oembed?page=5","provider":"Viridian Eclection","version":"1.0","type":"link"}