{"title":"Southwest","description":"\u003cp\u003eAdobe villages, desert light, Pueblo pottery and the warm palette of the American Southwest. Paintings, photographs and objects gathered from the high desert tradition, from mid-century landscapes to the Santa Fe style of the 1980s. Every piece is one of a kind.\u003c\/p\u003e","products":[{"product_id":"desert-landscape-oil-on-canvas-by-alice-cardelli-swett","title":"Desert Landscape, Oil on Canvas by Alice Cardelli Swett","description":"\u003ch3\u003eThe Painting\u003c\/h3\u003e\n\u003cp\u003eAn oil on canvas of the Nevada desert by Alice Cardelli Swett, with soft sagebrush, scattered scrub and a hazy wash of distant hills.\u003c\/p\u003e\n\u003cp\u003eThe palette is muted earth tone, greens, browns and lavender, which is characteristic of Swett's sensitive readings of the Great Basin landscape.\u003c\/p\u003e\n\u003cp\u003eIt is signed Cardelli Swett at the lower right.\u003c\/p\u003e\n\u003cp\u003eThe painting is housed in an ornate mid twentieth century Rococo Revival frame with molded floral and shell motifs, whitewashed with subtle distressing that lifts the period desert scene. The frame adds to the decorative presence of the work and echoes the romantic atmosphere of Swett's Nevada subject matter.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eAlice Cardelli Swett, a Nevada painter of the twentieth century, often signed simply Cardelli Swett. She was based in Dayton, a historic mining town in the Carson River Valley.\u003c\/p\u003e\n\u003cp\u003eShe is a listed artist. Her works appear in Nevada art reference books, among them \u003cem\u003ePainters of Nevada, 1845 to 1980\u003c\/em\u003e, and in regional auction catalogs. She was known especially for her portrayals of wild mustangs, stagecoaches, buffalo and the desert expanses of the Great Basin.\u003c\/p\u003e\n\u003cp\u003eHer work circulated widely in Nevada during the middle of the twentieth century, hanging in homes, businesses and public spaces throughout the mining towns of the state.\u003c\/p\u003e\n\u003cp\u003eHer paintings were recognized and collected by Nevada institutions. In 2009 the Douglas County Historical Society exhibited her painting \u003cem\u003eThe Wild Bunch\u003c\/em\u003e, also referred to as \u003cem\u003eThe Mustangs\u003c\/em\u003e, appraised at 1,500 dollars, which was later raffled to raise funds for the museum. That connection underscores her standing as a regional painter whose work held cultural significance within the historical preservation community of Nevada.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eArtist\u003c\/td\u003e\n\u003ctd\u003eAlice Cardelli Swett, Nevada, twentieth century, based in Dayton\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eSubject\u003c\/td\u003e\n\u003ctd\u003eDesert landscape of the Great Basin, sagebrush, scrub and distant hills\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eTwentieth century\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMedium\u003c\/td\u003e\n\u003ctd\u003eOil on canvas\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eSigned Cardelli Swett at lower right\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFrame\u003c\/td\u003e\n\u003ctd\u003eOrnate mid twentieth century Rococo Revival frame, molded floral and shell motifs, whitewashed with subtle distressing\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eTo be confirmed\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eTo be confirmed\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is a Nevada painting by a Nevada painter, of the country a few miles outside the door. Work of that kind reads differently on a wall in the Great Basin than any imported landscape can.\u003c\/p\u003e\n\u003cp\u003eThe muted greens, browns and lavender are quiet enough to hang anywhere, and the whitewashed Rococo Revival frame gives the picture presence without competing with it.\u003c\/p\u003e\n\u003cp\u003eFor a collector of Nevada art, Swett is a listed name with a documented regional following, and for a designer the canvas is a soft horizontal note over a console, a bed or a mantel.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42571578835049,"sku":"VE-0045","price":1278.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_0213.jpg?v=1758692318"},{"product_id":"mid-century-desert-landscape-painting-oil-on-canvas-by-g-kean-c-1960s-70s","title":"Mid-Century Desert Landscape Painting – Oil on Canvas by G. Kean (c. 1960s–70s)","description":"\u003ch2\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003eA mid-century desert landscape rendered with quiet restraint and architectural clarity, this signed \u003cem\u003eG. Kean\u003c\/em\u003e oil on canvas captures the serene geometry of mountain, sage, and sky.\u003cbr\u003ePainted in the 1960s–1970s, the work evokes the cool austerity of the American West—its long horizons, soft violet shadows, and brushy fields of sage under thin, clear light.\u003c\/p\u003e\n\u003cp\u003eThe composition is deliberate yet lyrical. Wide, textured brushstrokes shape the distant ridges, while short stippled marks describe the dry shrubs in the foreground. Pale ochre and muted lavender meet in subtle harmony, suggesting early morning light spreading across the basin.\u003cbr\u003eThough the artist’s name does not appear in auction catalogues, the controlled hand and tonal discipline reveal a trained painter rooted in plein-air realism.\u003c\/p\u003e\n\u003cp\u003eAn original carved gesso frame in softened ivory surrounds the canvas—its ornamental edge lending a counterpoint of refinement to the landscape’s simplicity. The pairing feels quintessentially mid-century: restrained, composed, and quietly luminous.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003eDesign \u0026amp; Construction\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch3\u003e→ Form \u0026amp; Style\u003c\/h3\u003e\n\u003cp\u003eAuthentic 1960s–1970s oil landscape, featuring:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eA horizontal mountain composition with atmospheric depth\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003ePalette of sage, ochre, lilac, and umber\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSigned lower right in black: \u003cstrong\u003eG. KEAN\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003ePeriod carved and painted frame with inner gilt band\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe design reflects the post-war fascination with Western light—less romanticized than earlier Impressionism, more modern in its geometry and tonal balance.\u003c\/p\u003e\n\u003ch3\u003e→ Materials\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eOil pigments on stretched cotton or linen canvas\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eWooden stretcher, original period gesso frame\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEarly synthetic pigment blends typical of the era\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eEach element contributes to the tactile presence of mid-century craftsmanship: matte surface, subtle brush texture, and the honest palette of an observational painter.\u003c\/p\u003e\n\u003ch3\u003e→ Technique\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eLayered oil application with dry-brush scumble for soil texture\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eKnife-edged ridgelines for mountain highlights\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eControlled underpainting and restrained color mixing\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSignature applied post-varnish, consistent with mid-century studio practice\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe handling suggests a regional artist trained in plein-air or studio realism—skilled, confident, and attentive to natural light.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003eDating to \u003cstrong\u003ecirca 1960–1975\u003c\/strong\u003e, this landscape sits within the lineage of post-war Western realism that flourished across California, Nevada, and the American Southwest.\u003cbr\u003eWhile no definitive record of \u003cem\u003eG. Kean\u003c\/em\u003e appears in major auction databases, similar landscapes by lesser-known regional painters populate mid-century galleries and private collections dedicated to Western naturalism.\u003c\/p\u003e\n\u003cp\u003eThe work’s composition—broad desert plain with snow-capped peaks—echoes the \u003cem\u003eCalifornia Desert School\u003c\/em\u003e aesthetic, which celebrated clarity, solitude, and light rather than narrative drama.\u003cbr\u003eSuch paintings hung in homes, lodges, and small exhibition spaces, bridging the gap between fine art and lived environment.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003eBeautiful vintage condition with the following characteristics:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eStable paint surface with light age craquelure\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSubtle toning consistent with mid-century oil mediums\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eFrame with gentle wear and mellowed cream finish\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eCanvas taut, signature clear, colors even and stable\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eNo structural losses; retains its original presence and authenticity.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eItem:\u003c\/strong\u003e Desert Landscape Painting\u003cbr\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003cem\u003eG. Kean\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e c. 1960–1975\u003cbr\u003e\u003cstrong\u003eOrigin:\u003c\/strong\u003e United States (likely Southwest \/ California region)\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Original carved wood, cream gesso with gilt detail\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx. 16 × 20 in (24 × 28 in framed)\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent vintage with mild patina\u003cbr\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Mid-Century \/ Western Modern \/ Minimal Realism\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003eThis painting distills the essence of the mid-century American landscape—clear air, open space, and a quiet optimism that defined the post-war frontier imagination.\u003cbr\u003eIts muted palette and orderly structure make it deeply versatile: serene in a modern interior, grounding in a rustic one, contemplative in a study or gallery wall.\u003c\/p\u003e\n\u003cp\u003ePerfect if you want a piece that:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eBrings a sense of horizon and calm to your space\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBridges natural and modern aesthetics with subtle authority\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAdds genuine mid-century authenticity without excess color or gloss\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eReflects the soulful minimalism of Western light and distance\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWhen placed under warm directional light, the brushwork catches faint reflections, turning stillness into a living surface.\u003cbr\u003eIt’s a work that doesn’t demand attention—it rewards it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42748707799145,"sku":"VE-0222","price":829.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/mid-century_desert_landscape_painting_oil_on_canvas_by_g._kean_c._1960s70s766059134986534450633949289.jpg?v=1774418350"},{"product_id":"mary-ann-davis-desert-landscape-signed-oil-on-canvas-american-plein-air-painter-c-1978-1980","title":"Desert in Bloom, Signed Mary Ann Davis, Oil on Canvas, American Plein Air","description":"\u003ch2\u003eThe Piece\u003c\/h2\u003e\n\u003cp\u003eA flat run of pale desert sand leads back to a range of lavender mountains under a clear blue sky banked with soft white cumulus. Low mats of rose-violet verbena spread across the foreground in bloom, small sage-green shrubs dot the middle distance, and a single spiky desert plant stands to the right of centre, its shadow falling cool across the sand. It is a bright, open picture of the desert in spring, painted in clean blues, sand, lavender and rose.\u003c\/p\u003e\n\u003cp\u003eThe canvas is presented in an ornate gilt wood frame with a carved scrolling pattern.\u003c\/p\u003e\n\u003ch2\u003eHistory \u0026amp; Provenance\u003c\/h2\u003e\n\u003cp\u003eSigned \"Mary Ann Davis\" in full at the lower right. We attribute the painting to the American plein air painter Mary Ann Davis (born 1954) on the strength of that signature. Davis trained at the Herron School of Art in Indianapolis (BFA 1976), won the T. C. Steele Great Outdoors competition in 2004, and is a signature member of the American Impressionist Society and of Plein Air Artists Colorado, whose national exhibition gave her an Award of Merit in 2020. Her work has been shown in Boulder, Naples and Indianapolis and has appeared in \u003cem\u003eSouthwest Art\u003c\/em\u003e and \u003cem\u003ePlein Air Magazine\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe canvas is undated, and no label or inscription ties it to a particular exhibition. Her record of painting in the American West gives context to a desert subject carrying her full name. Her career is written up in full on our \u003ca href=\"\/pages\/artists-mary-ann-davis\"\u003eMary Ann Davis artist page\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch2\u003eProduct Details\u003c\/h2\u003e\n\u003ctable\u003e\n\u003cthead\u003e\u003ctr\u003e\n\u003cth\u003eField\u003c\/th\u003e\n\u003cth\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eLandscape painting, desert in bloom with mountains\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican; attributed to Mary Ann Davis\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFramed painting on canvas, ornate gilt wood frame\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eOil on canvas\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eSigned \"Mary Ann Davis\" lower right\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eLate 20th to early 21st century; undated\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good vintage condition. Stable paint surface with clear, even colour; frame with light edge wear, structurally sound. 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\u003ch2\u003eWhy It Belongs in Your Home\u003c\/h2\u003e\n\u003cp\u003eThis canvas brings the light of open country indoors. Hung above a sofa, console or bed, it gives a room sky and distance, and its soft blues and desert pinks sit beautifully with linen, wood, leather and stone. It is a natural fit for a Southwestern or mountain home, and just as much at ease in a quiet traditional room that wants a little air.\u003c\/p\u003e\n\u003cp\u003eTo keep it at its best, hang it out of direct sun and away from heat sources and humidity. Dust the frame with a soft, dry brush, and leave any cleaning of the painted surface to a conservator.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42752392298601,"sku":"VE-0230","price":924.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/mary_ann_davis_desert_landscape_signed_oil_on_canvas_american_plein_air_painter_c.1978-1980766233264138534457147179113.jpg?v=1774418403"},{"product_id":"mid-century-desert-village-oil-landscape-signed-petersen-c-1950-1970","title":"Mid-Century Desert Village Oil Landscape, Signed Petersen, c. 1950–1970","description":"\u003ch2\u003eThe Piece\u003c\/h2\u003e\n\u003cp\u003eA quiet village of simple adobe forms sits low in an open, arid plain, with tall saguaros standing up out of the scrub around it. The buildings recede gently into the distance beneath a pale sky and a soft blue horizon, and the whole scene has the stillness of desert country in full light.\u003c\/p\u003e\n\u003cp\u003eThe palette is restrained: sand, ochre, clay and shadowed green, with muted blues in the sky and distance. Detail is kept spare so that light and open space carry the picture, and the brushwork and canvas texture remain visible across the surface. It is presented in a wood frame with a warm patina that suits the earthy colour without competing with it.\u003c\/p\u003e\n\u003ch2\u003eHistory \u0026amp; Provenance\u003c\/h2\u003e\n\u003cp\u003eThe painting is signed \"PETERSEN\" in white capitals at the lower left. No first name appears anywhere on the canvas, and the signature does not match the documented signatures of the listed painters of that surname, so no attribution is made. The painter remains unidentified.\u003c\/p\u003e\n\u003cp\u003eIt came to Viridian Eclection as part of a single lot of landscapes, every one signed the same way in the same white capitals, and the group appears to have come from one household. None of the group is dated. On the shared hand, palette and handling of the group and the regional Western landscape manner they all follow, it is offered as c. 1950–1970. It is one of three paintings in the shop from that group, alongside a ranch landscape inscribed \u003cem\u003eBlack Rock Ranch\u003c\/em\u003e and a winter mountain scene.\u003c\/p\u003e\n\u003ch2\u003eProduct Details\u003c\/h2\u003e\n\u003ctable\u003e\n\u003cthead\u003e\u003ctr\u003e\n\u003cth\u003eField\u003c\/th\u003e\n\u003cth\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSouthwestern desert village landscape with saguaros, signed Petersen\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnited States, American West\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eFramed landscape painting\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eOil on canvas; wood frame\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eSigned \"PETERSEN\" in white capitals at the lower left\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. The canvas is stable with an even surface and no visible structural issues. The frame shows light wear consistent with 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\u003ch2\u003eWhy It Belongs in Your Home\u003c\/h2\u003e\n\u003cp\u003eThis is a painting that settles a room rather than commanding it. Its desert colours of sand, clay, soft blue and shadowed green sit naturally with wood, stone, plaster, linen and leather, and the open composition gives a wall a sense of space and breath. It suits a living room, a library, a hallway or an office where calm is welcome, and it hangs beautifully with its two companions signed the same way.\u003c\/p\u003e\n\u003cp\u003eHang it out of direct sun and away from heat sources and humidity. Dust the frame with a soft, dry brush, and leave any cleaning of the painted surface to a conservator.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42825403105385,"sku":"VE-0400","price":1838.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/9BA10999-D5F6-4520-9E08-4E7412DFE2B9_4_5005_c.jpg?v=1768735526"},{"product_id":"mid-century-desert-yucca-landscape-photograph-c-1956-1965","title":"Mid-Century Desert Yucca Landscape Photograph, c. 1956–1965","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA refined mid-century color photographic print depicting a flowering desert yucca rising from arid terrain, set against distant mountain ranges and an expansive Western sky. The composition is restrained and balanced, with a single vertical subject grounding the image while subtle tonal gradations create depth and atmosphere.\u003c\/p\u003e\n\u003cp\u003eProduced during the early decades of fine-art color photography, the image reflects a period when photographers embraced a more painterly approach to landscape. Color is soft and naturalistic, transitions are gradual, and the overall effect favors mood and observation over drama. The result is a photograph that reads with the quiet authority of a landscape painting.\u003c\/p\u003e\n\u003cp\u003eThe subject matter and visual language suggest the American Southwest or Southern California desert, captured during the postwar era when Western landscapes were increasingly interpreted through a modern, contemplative lens.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eDesign \u0026amp; Presentation\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eOriginal mid-century color photographic print on paper\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eProfessionally matted in a warm-toned, period-appropriate mat\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003ePresented in its \u003cstrong\u003eoriginal mid-century wood frame\u003c\/strong\u003e with layered profile and subtle gilt accent\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eOriginal hanging wire and backing intact\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe framing is consistent with late-1950s to early-1960s custom photographic presentation and appears contemporaneous with the print.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good vintage condition.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eImage remains clear with stable, well-preserved color\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSubtle surface texture consistent with early color photographic paper\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eMat shows gentle, even toning appropriate to age\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eFrame retains original finish with minor wear at edges and corners\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBacking intact, with handwritten inventory notation indicating prior collection or gallery handling\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eNo tears, losses, or restorations observed.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is a grounding piece. Quiet, confident, and timeless.\u003c\/p\u003e\n\u003cp\u003eIt works effortlessly in interiors that value material honesty and restraint: plaster walls, natural wood, stone, linen, and layered neutrals. It complements both modern and traditional architecture, offering presence without visual noise.\u003c\/p\u003e\n\u003cp\u003ePlaced in a bedroom, study, hallway, or living space, it brings calm and cohesion. In a collection, it provides balance. In a room, it elevates everything around it.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eDealer Perspective\u003c\/h3\u003e\n\u003cp\u003eMid-century color photographs with this level of compositional restraint and original presentation are increasingly scarce. Many were lost, faded, or reframed beyond recognition. This example remains intact, offering authenticity and period integrity without relying on artist attribution.\u003c\/p\u003e\n\u003cp\u003eA piece chosen for how it \u003cem\u003elives\u003c\/em\u003e, not how loudly it announces itself.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42825415655529,"sku":"VE-0402","price":490.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/2E12D61C-424B-4160-B53C-57788619CE1E_1_201_a.jpg?v=1768737827"},{"product_id":"hand-painted-ceramic-tile-coaster-c-1940s-1960s-southwestern-geometric-motif","title":"Hand-Painted Ceramic Tile Coaster (c. 1940s–1960s) | Southwestern Geometric Motif","description":"\u003cdiv class=\"relative basis-auto flex-col -mb-(--composer-overlap-px) [--composer-overlap-px:28px] grow flex\"\u003e\n\u003cdiv class=\"flex flex-col text-sm pb-25\"\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"91dcdca4-6668-4f87-a749-2c029891fa5c\" data-testid=\"conversation-turn-29\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"399b5ea6-5a83-415a-b53d-21a742c5d143\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003ch2 data-start=\"1366\" data-end=\"1382\"\u003e\u003cstrong data-start=\"1369\" data-end=\"1382\"\u003eThe Piece\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"1384\" data-end=\"1510\"\u003eHand-painted ceramic tile coaster, c. 1940s–1960s.\u003cbr data-start=\"1434\" data-end=\"1437\"\u003eMaker unknown.\u003cbr data-start=\"1451\" data-end=\"1454\"\u003eGlazed ceramic tile mounted on wood backing.\u003cbr data-start=\"1498\" data-end=\"1501\"\u003eUnmarked.\u003c\/p\u003e\n\u003chr data-start=\"1512\" data-end=\"1515\"\u003e\n\u003ch3 data-start=\"1517\" data-end=\"1544\"\u003e\u003cstrong data-start=\"1521\" data-end=\"1544\"\u003ePrimary Description\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1546\" data-end=\"1812\"\u003eThis square coaster features a hand-painted geometric motif rendered in muted turquoise, pink, and ochre tones, outlined in black against a pale ground. The design is centered and symmetrical, with stepped forms arranged in a horizontal band across the tile surface.\u003c\/p\u003e\n\u003cp data-start=\"1814\" data-end=\"2108\"\u003eThe ceramic tile is set into a thin wooden backing, giving the piece slight lift and rigidity. Brushwork is visible throughout the painted surface, with subtle variation in color density and line weight, consistent with small-batch or individual hand production rather than industrial printing.\u003c\/p\u003e\n\u003chr data-start=\"2110\" data-end=\"2113\"\u003e\n\u003ch3 data-start=\"2115\" data-end=\"2141\"\u003e\u003cstrong data-start=\"2119\" data-end=\"2141\"\u003eHistorical Context\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2143\" data-end=\"2466\"\u003eDuring the mid-20th century, Southwestern imagery was widely adapted into decorative objects for domestic use. Trading posts, roadside gift shops, and regional craft cooperatives produced tileware, textiles, and small objects that referenced Indigenous design languages while remaining accessible to tourists and travelers.\u003c\/p\u003e\n\u003cp data-start=\"2468\" data-end=\"2774\"\u003eObjects like this coaster were intended for casual use and display, functioning as souvenirs or everyday household items rather than ceremonial artifacts. Their value lies in how they reflect mid-century American fascination with regional identity and handmade aesthetics, rather than in formal authorship.\u003c\/p\u003e\n\u003chr data-start=\"2776\" data-end=\"2779\"\u003e\n\u003ch3 data-start=\"2781\" data-end=\"2831\"\u003e\u003cstrong data-start=\"2785\" data-end=\"2831\"\u003eProduct Details \/ Materials \u0026amp; Presentation\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2833\" data-end=\"3087\"\u003e→ \u003cstrong data-start=\"2835\" data-end=\"2846\"\u003eMedium:\u003c\/strong\u003e Glazed ceramic tile with wood backing\u003cbr data-start=\"2884\" data-end=\"2887\"\u003e→ \u003cstrong data-start=\"2889\" data-end=\"2906\"\u003eConstruction:\u003c\/strong\u003e Hand-painted tile affixed to a solid wood base\u003cbr data-start=\"2953\" data-end=\"2956\"\u003e→ \u003cstrong data-start=\"2958\" data-end=\"2973\"\u003eDecoration:\u003c\/strong\u003e Geometric motif in turquoise, pink, and ochre with black outlining\u003cbr data-start=\"3040\" data-end=\"3043\"\u003e→ \u003cstrong data-start=\"3045\" data-end=\"3071\"\u003eMarkings \/ signatures:\u003c\/strong\u003e None observed\u003c\/p\u003e\n\u003chr data-start=\"3089\" data-end=\"3092\"\u003e\n\u003ch3 data-start=\"3094\" data-end=\"3121\"\u003e\u003cstrong data-start=\"3098\" data-end=\"3121\"\u003eCondition + Updates\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3123\" data-end=\"3369\"\u003eOverall condition is good.\u003cbr data-start=\"3149\" data-end=\"3152\"\u003eThe painted surface remains intact with light surface wear consistent with age and use. The wood backing shows minor handling marks and edge wear. No cracks or repairs were observed. No restoration has been performed.\u003c\/p\u003e\n\u003chr data-start=\"3371\" data-end=\"3374\"\u003e\n\u003ch3 data-start=\"3376\" data-end=\"3411\"\u003e\u003cstrong data-start=\"3380\" data-end=\"3411\"\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3413\" data-end=\"3594\"\u003eThis piece works as a small functional object with graphic presence. It sits comfortably on a desk, side table, or shelf, where scale and pattern add interest without visual weight.\u003c\/p\u003e\n\u003cp data-start=\"3596\" data-end=\"3794\"\u003eIts appeal is tactile and quiet. Rather than acting as a focal point, it contributes texture and regional character to a space, especially when layered with other mid-century or handcrafted objects.\u003c\/p\u003e\n\u003chr data-start=\"3796\" data-end=\"3799\"\u003e\n\u003ch3 data-start=\"3801\" data-end=\"3832\"\u003e\u003cstrong data-start=\"3805\" data-end=\"3832\"\u003eFrom Viridian Eclection\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3834\" data-end=\"4021\"\u003eViridian Eclection presents objects with clear boundaries and honest context. Pieces are selected for material integrity and cultural placement, offered without overstatement or revision.\u003c\/p\u003e\n\u003chr data-start=\"4452\" data-end=\"4455\"\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"mt-3 w-full empty:hidden\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"thread-bottom-container\" class=\"sticky bottom-0 group\/thread-bottom-container relative isolate z-10 w-full basis-auto has-data-has-thread-error:pt-2 has-data-has-thread-error:[box-shadow:var(--sharp-edge-bottom-shadow)] md:border-transparent md:pt-0 dark:border-white\/20 md:dark:border-transparent print:hidden content-fade single-line flex flex-col\"\u003e\n\u003cdiv id=\"thread-bottom\"\u003e\n\u003cdiv class=\"text-base mx-auto [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 mb-4\"\u003e\n\u003cdiv class=\"pointer-events-auto relative z-1 flex h-(--composer-container-height,100%) max-w-full flex-(--composer-container-flex,1) flex-col\"\u003e\u003cform class=\"group\/composer w-full\" data-type=\"unified-composer\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"bg-token-bg-primary corner-superellipse\/1.1 cursor-text overflow-clip bg-clip-padding p-2.5 contain-inline-size motion-safe:transition-colors motion-safe:duration-200 motion-safe:ease-in-out dark:bg-[#303030] grid grid-cols-[auto_1fr_auto] [grid-template-areas:'header_header_header'_'leading_primary_trailing'_'._footer_.'] group-data-expanded\/composer:[grid-template-areas:'header_header_header'_'primary_primary_primary'_'leading_footer_trailing'] shadow-short\" data-composer-surface=\"true\"\u003e\n\u003cdiv class=\"-my-2.5 flex min-h-14 items-center overflow-x-hidden px-1.5 [grid-area:primary] group-data-expanded\/composer:mb-0 group-data-expanded\/composer:px-2.5\"\u003e\n\u003cdiv class=\"wcDTda_prosemirror-parent text-token-text-primary max-h-[max(30svh,5rem)] max-h-52 min-h-[var(--deep-research-composer-extra-height,unset)] flex-1 overflow-auto [scrollbar-width:thin] default-browser vertical-scroll-fade-mask\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/form\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42853902745705,"sku":"VE-0460","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/49D262BE-61CA-478D-BB81-87570BB7A2F9_1_105_c.jpg?v=1769481122"},{"product_id":"terry-daugherty-high-desert-settlement-landscape-1988-signed-oil-painting","title":"Terry Daugherty High Desert Settlement Landscape (1988) | Signed Oil Painting","description":"\u003ch2\u003eThe Piece\u003c\/h2\u003e\n\u003cp\u003eA small settlement spreads across a high desert hillside beneath a broad, pale mountain. A cluster of buildings gathers at the lower left, linked by a narrow trestle or walkway, with more structures scattered sparsely up the slope. The mountain dominates the background in a softly modeled, rounded form. Brushwork is controlled and even, with fine texture in the grasses and hillside and a lighter, more diffuse touch in the sky, and the muted palette of tans, soft greens and pale blues conveys distance and elevation. The canvas is presented in a wood frame with a gilt liner.\u003c\/p\u003e\n\u003ch2\u003eHistory \u0026amp; Provenance\u003c\/h2\u003e\n\u003cp\u003eSigned “Terry Daugherty” and dated ’88 along the lower margin. The painter has not been identified in the published record.\u003c\/p\u003e\n\u003ch2\u003eProduct Details\u003c\/h2\u003e\n\u003ctable\u003e\n\u003cthead\u003e\u003ctr\u003e\n\u003cth\u003eField\u003c\/th\u003e\n\u003cth\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eLandscape painting, high desert settlement\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eNot recorded\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eHorizontal painting on stretched canvas, framed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eOil on canvas; wood frame with gilt liner\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eSigned “Terry Daugherty” and dated ’88, lower margin\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1988\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood condition. Paint surface stable with no visible flaking or loss, canvas taut, light surface wear and minor frame wear consistent with age, no restoration. 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\u003ch2\u003eWhy It Belongs in Your Home\u003c\/h2\u003e\n\u003cp\u003eA calm, spacious view of land and settlement that rewards time. Its horizontal format and subdued palette suit a living room, an office or a hallway where quiet and scale matter more than bright color.\u003c\/p\u003e\n\u003cp\u003eKeep it out of direct sun and away from heat and humidity. Dust the frame with a soft, dry brush, and leave any cleaning of the painted surface to a conservator.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42855082131561,"sku":"VE-0468","price":294.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/9B0E667A-5FFC-44FE-BB70-21D0E02FB86E_1_102_a.jpg?v=1769492526"},{"product_id":"southwestern-desert-landscape-watercolor-signed-kerry-c-1960-1985","title":"Southwestern Desert Landscape Watercolor Signed Kerry (c. 1960–1985)","description":"\u003ch2 data-start=\"1353\" data-end=\"1365\"\u003eThe Piece\u003c\/h2\u003e\n\u003cp data-start=\"1367\" data-end=\"1433\"\u003eA confident Southwestern landscape rendered in layered watercolor.\u003c\/p\u003e\n\u003cp data-start=\"1435\" data-end=\"1695\"\u003eThis composition captures sunlit rock formations rising above scrub and desert grasses beneath a pale mineral-blue sky. The painter uses transparent washes to build depth across the stone surfaces, allowing warm ochres and muted slate blues to merge naturally.\u003c\/p\u003e\n\u003cp data-start=\"1697\" data-end=\"1824\"\u003eDry-brush accents along the rock faces give structure without stiffness. The brush handling is assured. Nothing feels hesitant.\u003c\/p\u003e\n\u003cp data-start=\"1826\" data-end=\"1853\"\u003eSigned “Kerry” lower right.\u003c\/p\u003e\n\u003chr data-start=\"1855\" data-end=\"1858\"\u003e\n\u003ch2 data-start=\"1860\" data-end=\"1874\"\u003eAttribution\u003c\/h2\u003e\n\u003cp data-start=\"1876\" data-end=\"2098\"\u003eSigned “Kerry.” No confirmed attribution to a documented fine art auction artist has been identified. The style, subject matter, and handling suggest a regional Southwestern painter working in the mid-to-late 20th century.\u003c\/p\u003e\n\u003cp data-start=\"2100\" data-end=\"2171\"\u003eThe work stands on compositional strength rather than name recognition.\u003c\/p\u003e\n\u003chr data-start=\"2173\" data-end=\"2176\"\u003e\n\u003ch2 data-start=\"2178\" data-end=\"2199\"\u003eHistorical Context\u003c\/h2\u003e\n\u003cp data-start=\"2201\" data-end=\"2485\"\u003eThroughout the mid-20th century, regional watercolor painters across Arizona, Utah, Nevada, and New Mexico focused heavily on desert rock formations and high desert terrain. Watercolor was a preferred medium for capturing shifting light and mineral color variation in arid landscapes.\u003c\/p\u003e\n\u003cp data-start=\"2487\" data-end=\"2586\"\u003eThis piece aligns closely with that tradition — emphasizing atmosphere over photographic precision.\u003c\/p\u003e\n\u003chr data-start=\"2588\" data-end=\"2591\"\u003e\n\u003ch2 data-start=\"2593\" data-end=\"2618\"\u003eDesign \u0026amp; Craftsmanship\u003c\/h2\u003e\n\u003cp data-start=\"2620\" data-end=\"2649\"\u003eOriginal watercolor on paper.\u003c\/p\u003e\n\u003cp data-start=\"2651\" data-end=\"2816\"\u003e• Layered transparent washes\u003cbr data-start=\"2679\" data-end=\"2682\"\u003e• Controlled pigment pooling\u003cbr data-start=\"2710\" data-end=\"2713\"\u003e• Dry-brush rock texturing\u003cbr data-start=\"2739\" data-end=\"2742\"\u003e• Balanced use of negative space\u003cbr data-start=\"2774\" data-end=\"2777\"\u003e• Professionally matted in muted sage\u003c\/p\u003e\n\u003cp data-start=\"2818\" data-end=\"2915\"\u003eThe custom mat and warm wood frame elevate the presentation and complement the landscape palette.\u003c\/p\u003e\n\u003chr data-start=\"2917\" data-end=\"2920\"\u003e\n\u003ch2 data-start=\"2922\" data-end=\"2934\"\u003eCondition\u003c\/h2\u003e\n\u003cp data-start=\"2936\" data-end=\"2956\"\u003eVery good condition.\u003c\/p\u003e\n\u003cp data-start=\"2958\" data-end=\"3081\"\u003e• No visible foxing from front view\u003cbr data-start=\"2993\" data-end=\"2996\"\u003e• Paper appears stable\u003cbr data-start=\"3018\" data-end=\"3021\"\u003e• Clean mat\u003cbr data-start=\"3032\" data-end=\"3035\"\u003e• Frame shows minimal wear\u003cbr data-start=\"3061\" data-end=\"3064\"\u003e• Ready to hang\u003c\/p\u003e\n\u003cp data-start=\"3083\" data-end=\"3136\"\u003e(Back inspection recommended for final confirmation.)\u003c\/p\u003e\n\u003chr data-start=\"3138\" data-end=\"3141\"\u003e\n\u003ch2 data-start=\"3143\" data-end=\"3192\"\u003eWhy It Belongs in Your Home (Conversion Ready)\u003c\/h2\u003e\n\u003cp data-start=\"3194\" data-end=\"3233\"\u003eThis piece adds movement without noise.\u003c\/p\u003e\n\u003cp data-start=\"3235\" data-end=\"3427\"\u003eThe palette is grounded and mineral — it works effortlessly with neutral interiors, natural wood, leather, linen, and brass. The horizontal format makes it ideal above a console, bed, or desk.\u003c\/p\u003e\n\u003cp data-start=\"3429\" data-end=\"3567\"\u003eWatercolor carries a softness that oils do not. It allows light to pass through the pigment, giving the landscape depth without heaviness.\u003c\/p\u003e\n\u003cp data-start=\"3569\" data-end=\"3649\"\u003eIt is calm.\u003cbr\u003eIt is textural.\u003cbr\u003eIt feels collected rather than purchased in a hurry.\u003c\/p\u003e\n\u003cp data-start=\"3651\" data-end=\"3748\"\u003eIf you are building a space that values atmosphere over decoration, this painting earns its wall.\u003c\/p\u003e\n\u003chr data-start=\"3750\" data-end=\"3753\"\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42944109052009,"sku":"VE-0570","price":221.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/C3EC5F98-2A84-45C4-A430-A8E92EE9AEA6_1_105_c.jpg?v=1771825037"},{"product_id":"signed-1973-southwestern-adobe-landscape-painting-by-vinnie","title":"Signed 1973 Southwestern Adobe Landscape Painting by Vinnie","description":"\u003ch3\u003eThe Painting\u003c\/h3\u003e\n\u003cp\u003eA warm, atmospheric Southwestern adobe landscape, signed and dated 1973. The scene is a quiet desert homestead, with a low adobe structure, a leaning ladder, a fence line, a hay bale or horno like form, a stone wall, and a large burgundy toned tree anchoring the right side of the composition.\u003c\/p\u003e\n\u003cp\u003eThe palette is distinctly of the 1970s, with dusty mauve, golden yellow, smoky gray, umber, muted green, and deep wine red layered across the canvas. The effect is theatrical and nostalgic, a remembered New Mexico or Southwest courtyard at sunset.\u003c\/p\u003e\n\u003cp\u003eThe surface carries visible brushwork, layered color, and expressive painterly texture. A distant cart like figure sits behind the fence line.\u003c\/p\u003e\n\u003cp\u003eThe work is signed lower right, Vinnie, and dated 73. It is housed in a slim wood frame with a gold toned inner edge.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe painting belongs to the tradition of vintage Southwestern landscape and adobe scene painting, a genre especially popular through the mid to late twentieth century as collectors, travelers, and regional artists took up the visual language of the American Southwest. Adobe homes, ladders, desert courtyards, stone walls, and warm atmospheric skies recur throughout both fine art and decorative regional painting of the period.\u003c\/p\u003e\n\u003cp\u003eThe handling here is expressive rather than academic. The tree is the emotional anchor of the composition, its dark branching forms and burgundy foliage pushing against a pale golden sky, while the adobe structure at the left, the ladder, the fence line, and the distant figure build a quiet sense of place and story.\u003c\/p\u003e\n\u003cp\u003eSigned works by first name only or regionally unidentified artists are common in vintage estate art, particularly from the 1960s and 1970s. The artist has not been further identified and the work has not been professionally authenticated, so the attribution is uncertain and rests on the visible signature alone.\u003c\/p\u003e\n\u003cp\u003eThe piece is best described as a signed 1973 Southwestern adobe landscape by Vinnie, artist not further identified. No known or listed artist attribution is claimed.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eItem\u003c\/td\u003e\n\u003ctd\u003eVintage signed Southwestern landscape painting\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eArtist\u003c\/td\u003e\n\u003ctd\u003eSigned Vinnie, not further identified\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003e1973, estimated period 1970s\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eSignature\u003c\/td\u003e\n\u003ctd\u003eLower right, signed Vinnie and dated 73\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eSubject\u003c\/td\u003e\n\u003ctd\u003eSouthwestern adobe homestead, tree, ladder, fence, stone wall, desert landscape\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eStyle\u003c\/td\u003e\n\u003ctd\u003eSouthwestern, folk impressionist, regional decorative art, vintage landscape\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMedium\u003c\/td\u003e\n\u003ctd\u003eLikely oil or acrylic on canvas\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFrame\u003c\/td\u003e\n\u003ctd\u003eSlim wood frame with gold toned inner trim\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eColor Palette\u003c\/td\u003e\n\u003ctd\u003eMauve, ochre, burgundy, brown, gold, smoky gray, muted green\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 24 by 36 inches\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWeight\u003c\/td\u003e\n\u003ctd\u003eApproximately 3 pounds\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVintage condition with age appropriate wear, including surface scuffs, scratches, small paint losses, and frame wear. Presents well overall\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eAttribution\u003c\/td\u003e\n\u003ctd\u003eUncertain. Not authenticated or identified beyond the visible signature\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eLocation\u003c\/td\u003e\n\u003ctd\u003eReno, Nevada\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThe painting brings warmth, color, and story into a room. The adobe architecture, the desert light, and the dramatic tree create a strong sense of place, while the 1970s palette gives it a nostalgic, collected quality.\u003c\/p\u003e\n\u003cp\u003eIt hangs well above a console, a desk, a sideboard, or a bar cabinet, and it holds a place in a layered gallery wall beside other landscapes, folk art, woven textiles, brass, pottery, and dark wood. There is enough color to hold a wall, and the tones are soft and aged enough to sit inside a restrained interior.\u003c\/p\u003e\n\u003cp\u003eIt pairs easily with antique wood furniture, leather seating, brass and bronze accents, woven textiles, Southwestern pottery, vintage books, primitive objects, and framed regional art, in warm neutral or moody rooms alike.\u003c\/p\u003e\n\u003cp\u003eThe charm is in the atmosphere. It feels personal, imperfect, and storied, the kind of artwork that makes a space look collected over time.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43210976395369,"sku":"VE-0917","price":255.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/A377CE83-4674-4A3C-A322-C692C511392A_1_105_c.jpg?v=1778406810"},{"product_id":"treasure-craft-southwest-stepped-rim-saucer-matte-peach-with-turquoise-band-made-in-usa-c-1980-1995","title":"Treasure Craft Southwest Stepped-Rim Saucer, Matte Peach with Turquoise Band, Made in USA, c. 1980–1995","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA wide shallow saucer glazed in a soft matte peach, with a single band of turquoise running the outer edge. Two colours, no pattern, no ornament. The whole design is carried by the colour pairing and by one structural decision at the rim.\u003c\/p\u003e\n\u003cp\u003eThat decision is a stepped notch cut into one section of the edge — three descending stairs worked into the rim profile, glazed in the same turquoise, breaking the circle exactly once. It is a small move and it changes the piece completely: a plain round saucer becomes an object with a front, an orientation, and a point of interest.\u003c\/p\u003e\n\u003cp\u003eThe interior carries a recessed ring at the centre to seat a cup. The glaze is matte and even across the face with a soft satin depth, and the reverse is finished in the same peach down to an unglazed foot ring. The base is impressed MADE IN USA.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePeach and turquoise, matte glaze, and a stepped geometric edge is one of the most precisely datable combinations in American ceramics. It belongs to the Southwest revival that ran through American design from the early eighties into the mid-nineties — a look drawn from Pueblo architecture, Navajo weaving, and the stepped cloud and terrace motifs of the Southwest, filtered through the desert palette that dominated interiors of the period.\u003c\/p\u003e\n\u003cp\u003eThe stepped rim is the genuine borrowing. Terraced forms appear throughout Puebloan pottery and architecture, where the stair-step reads as cloud, mountain, and the built terraces of the pueblo itself. American dinnerware manufacturers translated it into moulded edges and applied it across whole ranges, and it remains the single clearest visual shorthand for the period.\u003c\/p\u003e\n\u003cp\u003eThe base is impressed MADE IN USA along with a maker's name and what appears to be a copyright line, but the impression is shallow and worn and it cannot be read with confidence — not from a photograph, and not in hand. We are recording what is legible and nothing more. American manufacture is certain; the pottery 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\u003eSaucer or underplate\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnited States. The base is impressed MADE IN USA; the maker's name is present but illegible.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eWide shallow saucer with recessed centre cup ring and a stepped notch worked into one section of the rim\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eGlazed ceramic in matte peach with a turquoise rim band\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eImpressed to the base: MADE IN USA, with a maker's mark and copyright line too worn to read\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1980–1995\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. The piece is sound with no chips, cracks, crazing, or restoration, and the stepped rim is crisp and undamaged on every step. The glaze is even and unworn with only faint surface marks from 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\u003eSouthwest is back, and this is the honest version of it rather than the reproduction. The peach reads warmer and greyer than anything currently in production, because eighties glazes were mixed to a different standard, and the turquoise is a true blue-green rather than the harder teal that replaced it. Together they do something specific: they warm a cool room without adding a pattern to it.\u003c\/p\u003e\n\u003cp\u003eUse it as a saucer if you have the cup, but it is more useful without one. A wide shallow dish takes rings and a watch on a dresser, keys and sunglasses on an entry table, olives or almonds on a bar, or a bar of soap beside a sink. Propped on a small stand with the stepped rim facing out, it works as wall or shelf decoration in its own right — that notch is what makes it worth looking at. A note on care: the glaze is matte, which means it marks more readily than gloss and shows metal transfer from cutlery as grey streaks. Wash by hand with mild soap, skip abrasives entirely, and if a grey mark appears, a paste of baking soda and water on a soft cloth will usually lift it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48021632778345,"sku":"VE-1416","price":76.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3442.jpg?v=1788926268"},{"product_id":"handmade-zip-pouch-in-southwest-banded-blanket-wool-with-black-leather-and-a-silver-tone-concho-c-1990-2020","title":"Handmade Zip Pouch in Southwest Banded Blanket Wool with Black Leather and a Silver-Tone Concho, c. 1990–2020","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA flat zip pouch that fits in a back pocket, built from two very different materials and better for it.\u003c\/p\u003e\n  \u003cp\u003eThe face is a panel of \u003cstrong\u003eheavy napped blanket wool\u003c\/strong\u003e in a banded Southwest pattern. It runs camel through cream, gold, tangerine and a deep scarlet, then back out through cream and orange, with olive arrowheads stepping across the wide bands at one end. The wool is thick and plush with a full raised nap, the kind of weight that comes off a blanket rather than off a shirt.\u003c\/p\u003e\n  \u003cp\u003eAcross the zip edge runs a band of \u003cstrong\u003eblack leather\u003c\/strong\u003e, topstitched down and carrying the zipper, and the back of the pouch is a single unbroken panel of the same leather — smooth, matte, and quiet against all that colour.\u003c\/p\u003e\n  \u003cp\u003eSet into the middle of the leather band is a small \u003cstrong\u003econcho\u003c\/strong\u003e: a domed silver-tone disc with a scalloped edge and a stamped sunburst radiating from the centre.\u003c\/p\u003e\n  \u003cp\u003eThe pouch is machine sewn throughout and the edges are left raw and cut rather than bound.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe concho is the piece of this with the deepest history, and the route it travelled is longer than most people assume.\u003c\/p\u003e\n  \u003cp\u003eThe word comes from the Spanish \u003cem\u003econcha\u003c\/em\u003e — seashell — and the form of the ornament derives at least in part from \u003cstrong\u003eSpanish horse-bridle decoration\u003c\/strong\u003e. Metalworking of this kind was first taken up by eastern nations, the Delaware and the Shawnee, who learned it from European artisans. After the removals of the 1830s carried them to Oklahoma, the craft passed to Plains peoples — the Comanche, the Kiowa and the Ute — and it was they who carried it south and west. \u003cstrong\u003eNavajo silversmiths began making conchos in the 1870s and 1880s\u003c\/strong\u003e, having learned silverworking from Rio Grande Mexican smiths, and it is Navajo work that made the concho belt the object it is today.\u003c\/p\u003e\n  \u003cp\u003eSo a stamped silver disc on a belt or a bag is four cultures deep before it is anything else: Spanish tack, eastern metalwork, a forced migration, and then eighty years of Southwestern silversmithing that turned a borrowed form into something entirely its own.\u003c\/p\u003e\n  \u003cp\u003eThe banded stripe on the wool belongs to the same broad visual language — the wide-band, high-contrast blanket design that has been woven, traded and worn across the Southwest and the Plains for well over a century, and which has never gone out of production because it has never gone out of favour.\u003c\/p\u003e\n  \u003cp\u003eNow, plainly, what this particular object is and is not.\u003c\/p\u003e\n  \u003cp\u003eIt is \u003cstrong\u003ehandmade rather than factory made\u003c\/strong\u003e, and the construction says so. The edges are raw cut with loose threads standing at both ends of the zipper, and there is no bound, folded or tucked terminal anywhere on it. Production goods finish their ends, because an unfinished end is a warranty claim. Somebody cut this from blanket cloth, faced it with leather, set a zipper and a concho into it, and sold it as it came off the machine.\u003c\/p\u003e\n  \u003cp\u003eIt carries \u003cstrong\u003eno label, no maker's mark, and no stamp on the concho\u003c\/strong\u003e. The pouch is offered unattributed, the concho is described as silver-tone rather than silver because nothing on it says otherwise, and \u003cstrong\u003eit is not offered or represented as Native American made\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003cp\u003eOn the date: the materials are all current-production. A nylon coil zipper, supple chrome-tanned garment leather, and a blanket cloth whose nap is still full and unmatted with no fading through the reds. Nothing here is old, and the same pouch has been made from the same materials across a long span, so the range is given wide and honest at \u003cstrong\u003ec. 1990–2020\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\" style=\"width:100%; border-collapse:collapse;\"\u003e\n    \u003cthead\u003e\u003ctr\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n    \u003ctbody\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eObject\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eFlat zip pouch — coin purse, card wallet or bag organiser\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOrigin\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHandmade, maker unknown. Unlabelled and unattributed. \u003cstrong\u003eNot offered or represented as Native American made.\u003c\/strong\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eForm\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eFlat rectangular pouch with a leather-faced zip edge and a single-panel leather back; edges left raw cut rather than bound\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMaterial\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHeavy napped blanket-weight wool front with black leather band and back; nylon coil zipper\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ePattern\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eSouthwest banded stripe — camel, cream, gold, tangerine and scarlet with olive arrowhead motifs\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHardware\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOne domed silver-tone concho with a scalloped edge and stamped sunburst, set into the leather band. Unmarked; described as silver-tone, not silver.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMarks\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eNone. No label, maker's mark, or metal stamp.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eEra\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ec. 1990–2020. Dated on the materials, which are all current production. Not an antique.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCondition\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eVery good and barely used if at all. The zipper runs freely end to end, the concho is bright and firmly set, and every seam is intact with no separation. The wool nap is full and unmatted and the colours are strong and unfaded, with no moth damage, no holes and no thin patches. The leather is supple with no cracking, splitting or loss, showing only light surface marking. \u003cstrong\u003eLoose threads stand at both ends of the zipper where the edges are cut raw\u003c\/strong\u003e, which is how the pouch was made rather than damage, and they can be trimmed close. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eAvailability\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003c\/tbody\u003e\n  \u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eSmall zip pouches are the least glamorous and most used thing anybody owns. This one takes cards and folded cash, coins, a key and a lip balm, earbuds and a charging cord, hair pins, a travel set of pills, or the loose small things that otherwise live at the bottom of a bag and are never findable.\u003c\/p\u003e\n  \u003cp\u003eWhat makes it worth carrying rather than merely useful is the wool. Blanket cloth in this weight has a depth of colour and a physical warmth that printed cotton cannot touch, and the banded stripe reads from across a table. It is the difference between reaching for something and being pleased to.\u003c\/p\u003e\n  \u003cp\u003eIt works inside a larger bag as an organiser, in a coat pocket on its own, or on a dresser as the place car keys and loose change land at the end of the day. Flat enough for a back pocket, stiff enough to find by feel.\u003c\/p\u003e\n  \u003cp\u003eThe palette also happens to be easy: camel, rust and scarlet against black leather sits with denim, waxed canvas, brown boots, turquoise and brass, and it looks correct in autumn without looking seasonal the rest of the year.\u003c\/p\u003e\n  \u003cp\u003eAs a gift it is a good small one — a stocking filler, a groomsman's gift, a travel present — and it comes with a real story about where the ornament on the front came from.\u003c\/p\u003e\n  \u003cp\u003eA note on care, and wool is the part that needs it. \u003cstrong\u003eDo not machine wash this and do not put it in a dryer.\u003c\/strong\u003e Wool felts and shrinks irreversibly in hot water and agitation, and the leather will stiffen, darken and crack if it is soaked. Spot clean the wool with a barely damp cloth and a little wool-safe soap, blot rather than rub, and let it air dry away from heat.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eMoths are the real threat.\u003c\/strong\u003e This is untreated natural wool, and it is exactly what a clothes moth larva eats. If the pouch is going into a drawer for a season, put it somewhere sealed with cedar or lavender, and give it an airing and a shake every so often — moths lay in dark, still places that never get disturbed.\u003c\/p\u003e\n  \u003cp\u003eFor the leather, a very light wipe with a soft cloth is usually enough; if it dries out, use a small amount of a neutral leather conditioner on the leather only, keeping it off the wool, where it will leave a permanent dark stain.\u003c\/p\u003e\n  \u003cp\u003eTrim the loose threads at the zipper ends flush with small scissors rather than pulling them, since pulling a raw edge unravels it. And do not overstuff it — the raw-cut edges are the weakest part of the construction, and strain is what opens them.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48035621994601,"sku":"VE-0688","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3946.jpg?v=1789077634"},{"product_id":"teal-pressed-glass-souvenir-tankard-gilt-cathedral-rock-cartouche-sedona-arizona-made-in-u-s-a-c-1960-1990","title":"Teal Pressed Glass Souvenir Tankard, Gilt Cathedral Rock Cartouche, Sedona, Arizona, Made in U.S.A., c. 1960–1990","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small tankard in deep teal-blue pressed glass, heavy for its size and built like a miniature beer mug.\u003c\/p\u003e\n  \u003cp\u003eThe body is \u003cstrong\u003epanelled\u003c\/strong\u003e — broad flat facets running up the sides, each finishing in a rounded arch below a flared, slightly waved rim. Below, the glass steps out onto a wide skirted foot ringed with a fine band of beading. The handle is a thick squared loop with a generous finger opening.\u003c\/p\u003e\n  \u003cp\u003eOn the front, a \u003cstrong\u003egilt cartouche\u003c\/strong\u003e: a shaped shield outlined in gold, enclosing a landscape of red-rock buttes above a creek with trees and brush along the bank, all drawn in gold line. Beneath it, in gold capitals, \u003cstrong\u003eSEDONA, ARIZONA\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003cp\u003eThe rim carries a dark metallic band, toned almost to black.\u003c\/p\u003e\n  \u003cp\u003eTurn it over and the underside of the foot is embossed in raised letters around the ring: \u003cstrong\u003eMADE IN U.S.A.\u003c\/strong\u003e\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe scene in the gold is the reason this was bought in the first place. Sedona sits in the red-rock country of the Verde Valley in central Arizona, where Oak Creek has cut down through layered sandstone to leave the formations that made the place famous — the buttes and spires in the cartouche, drawn from the classic view.\u003c\/p\u003e\n  \u003cp\u003eThe object belongs to a genuinely American tradition: the \u003cstrong\u003esouvenir tankard\u003c\/strong\u003e, sold at roadside trading posts, lodge gift shops and highway curio stores through the middle of the twentieth century, when the family car and the two-week vacation turned the Southwest into a destination. You drove, you stopped, you brought back a mug. Thousands of towns had one; the gold was applied over the fired glass by decorating shops that could change the scene and the place name from job to job.\u003c\/p\u003e\n  \u003cp\u003eA few things are worth stating precisely.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eIt is American-made and says so\u003c\/strong\u003e, embossed into the foot — not a printed sticker or a paper label but raised letters formed in the mould itself, which is the one mark on the piece that cannot have been added later.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThere is no maker's name.\u003c\/strong\u003e Several large American glasshouses pressed tankards in this pattern for the souvenir trade, and this one carries no company mark, so it is offered \u003cstrong\u003eunattributed\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eAnd the gold is worn.\u003c\/strong\u003e The cartouche and the lettering are unfired or lightly fired surface gilding, which is how souvenir decoration was done, and it rubs. On this mug the outline and the place name survive clearly but a good deal of the interior detail has gone; the rim band has darkened and worn to a grey-black. Both are stated plainly below rather than photographed around.\u003c\/p\u003e\n  \u003cp\u003eDated on the pressed form, the applied decoration and the embossed country marking: \u003cstrong\u003ec. 1960–1990\u003c\/strong\u003e. Offered as a vintage souvenir piece rather than as an antique.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable border=\"1\" cellpadding=\"8\" cellspacing=\"0\" style=\"width:100%; border-collapse:collapse;\"\u003e\n    \u003cthead\u003e\u003ctr\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eField\u003c\/th\u003e\n\u003cth align=\"left\" style=\"text-align:left; vertical-align:top;\"\u003eDetail\u003c\/th\u003e\n\u003c\/tr\u003e\u003c\/thead\u003e\n    \u003ctbody\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eObject\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eSmall souvenir tankard or mug\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOrigin\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eAmerican. \u003cstrong\u003eMADE IN U.S.A.\u003c\/strong\u003e embossed into the underside of the foot. Unattributed — no maker's name is present.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eForm\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ePanelled body with arched panel tops and a flared waved rim, on a wide skirted foot with a beaded ring; heavy squared loop handle\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMaterial\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eTeal-blue pressed glass with applied gilt decoration and a metallic rim band\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eDecoration\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eGilt shield cartouche enclosing a red-rock landscape with creek and trees, lettered SEDONA, ARIZONA beneath\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMarks\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMADE IN U.S.A. embossed to the foot. No maker's mark.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eEra\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ec. 1960–1990. A vintage souvenir piece, not an antique.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCondition\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eGood, with honest wear to the decoration. \u003cstrong\u003eThe glass itself is excellent\u003c\/strong\u003e — no chips, cracks, flea bites or nicks anywhere on the rim, foot, panels or handle, the colour is deep and even with no cloudiness, and the mug stands flat and true. \u003cstrong\u003eThe gilding is worn.\u003c\/strong\u003e The cartouche outline and the SEDONA, ARIZONA lettering read clearly, but much of the gold detail inside the scene has rubbed away and the image is fragmentary. \u003cstrong\u003eThe metallic rim band has darkened and worn\u003c\/strong\u003e to a grey-black and is uneven around the circumference. Light interior film. No repairs. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eAvailability\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003c\/tbody\u003e\n  \u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eBuy this one for the glass. That teal is a genuinely good colour — deep, saturated, and unlike anything currently in production — and the panelled body throws it into bands of light and shadow that shift as the mug turns. On a windowsill with sun behind it, it reads like a piece of coloured light.\u003c\/p\u003e\n  \u003cp\u003eThe size makes it useful. It takes espresso or a short coffee, a small pour of whiskey or amaro, a votive candle, toothpicks or matches on a bar, brushes on a desk, or a few short-stemmed flowers on a sill.\u003c\/p\u003e\n  \u003cp\u003eIt also carries a place, which most decorative glass does not. For anyone who grew up on Southwest road trips, honeymooned in Sedona, or collects Route 66 and roadside Americana, a mug with the red rocks on it is a specific memory rather than a generic object.\u003c\/p\u003e\n  \u003cp\u003eA note on care, and the decoration is the fragile part. \u003cstrong\u003eNever put this in a dishwasher.\u003c\/strong\u003e The gold and the rim band sit on the surface of the glass rather than being fired deep into it, and dishwasher heat and detergent will take off what is left of them in a cycle or two. The glass would survive; the Sedona would not.\u003c\/p\u003e\n  \u003cp\u003eHand wash in warm water with a mild soap, using a soft cloth and keeping it off the gilded areas as much as you can, then dry immediately. \u003cstrong\u003eUse no abrasive pad, scouring cream or metal polish\u003c\/strong\u003e — polish will strip the darkened rim band rather than brighten it, and the toning is age rather than dirt.\u003c\/p\u003e\n  \u003cp\u003eAvoid sudden temperature changes: do not pour boiling liquid into it cold, and do not take it from hot to cold water. Pressed glass fails at thermal shock. It is not microwave or oven ware. Keep it out of prolonged direct sun, which will continue to fade the gold, and store it standing rather than stacked inside another vessel, where the rim takes the pressure.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48039648723049,"sku":"VE-0696","price":63.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/0ED7CBC0-BFD7-4BD7-B3AB-3E77F324F552.jpg?v=1789113136"},{"product_id":"erik-holland-nevada-high-desert-plein-air-oil-on-canvas-signed-2013","title":"Erik Holland Nevada High Desert Plein Air Oil on Canvas, Signed, 2013","description":"\u003ch3\u003eThe Painting\u003c\/h3\u003e\n\u003cp\u003eA Nevada high desert landscape in oil, worked thickly and quickly in the plein air manner, set behind a wide cream linen liner in a substantial stepped frame finished in mottled silver and bronze.\u003c\/p\u003e\n\u003cp\u003eThe composition runs on a diagonal. A pale blue green sky fills the upper left, carrying long streaks of cream and one clear band of coral. A lavender ridge sweeps down from the left, painted in short circling strokes that give the slope its roll and its haze. Against it, upper right, a dark rimrock crag stands in heavy brown and near black vertical strokes, catching a thin line of orange along its lit edge.\u003c\/p\u003e\n\u003cp\u003eThe right two thirds of the picture is a long olive and ochre slope rising to meet that crag, and the front of it is on fire with yellow. Rabbitbrush in full bloom, laid on in thick broken dabs and flecked with teal, rust, rose and small black notes, which is exactly what that country does in late summer and early fall.\u003c\/p\u003e\n\u003cp\u003eThe paint is heavy and the brushwork is visible everywhere. Colors are worked wet into wet, ridges of pigment stand well proud of the canvas, and nothing has been smoothed out afterward. It was painted fast and left alone.\u003c\/p\u003e\n\u003cp\u003eSigned and dated in pale blue at the lower left, the date reading 13. The reverse of the backing is inscribed in ink, Artist Erik Holland.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/pages\/artists-erik-holland\"\u003eErik Holland\u003c\/a\u003e is a Reno painter, and the painting is local in a way very little regional art actually is.\u003c\/p\u003e\n\u003cp\u003eHe works plein air, outdoors and on location, and in the studio, and his subject is the landscape of Nevada and the Great Basin. He studied at the Art Students League of New York, the Chicago Academy of Fine Art and the Academy of Art College in San Francisco. He painted murals in Stinson Beach, California in 1984 and in Fairbanks, Alaska in the nineteen nineties, and he was for a long time a contributor to the Reno News and Review.\u003c\/p\u003e\n\u003cp\u003eHis exhibition record is real and regional. He showed at the Nevada Historical Society, with a third show there in January 2015. He had a one man show at the Court House Gallery in Eureka, Nevada in October 2014, and showed recent plein air work at the Rinckel Mansion in Carson City in July 2017 under the title In and Around the Great Basin. He has painted a series of twenty five building portraits each in Austin and in Ely, and has worked extensively in Eureka. He taught workshops at St. Mary's Art Center in Virginia City for eight years and has taught at Rainshadow Community Charter High School in Reno. A Nevada Arts Council grant supported the publication of his first book. He has been carried by galleries in Reno, Carson City, Elko and California.\u003c\/p\u003e\n\u003cp\u003eThe frame gives a second date. The backing carries the shop label of Aaron Brothers, filled in by hand with the framer's name and the inspector's initials, which means the picture was framed to order rather than dropped into something ready made. Aaron Brothers closed ninety four of its ninety seven stores in March 2018, so the framing happened before then. With the canvas dated 13, the picture was painted in 2013 and framed within the following few years.\u003c\/p\u003e\n\u003cp\u003eThe location in the painting is not identified. Holland has worked across central and eastern Nevada, and the country shown here is consistent with that, but nothing on the canvas or the backing names a place.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eArtist\u003c\/td\u003e\n\u003ctd\u003eErik Holland, Reno, Nevada. Plein air and studio landscape painter. Trained at the Art Students League of New York, the Chicago Academy of Fine Art and the Academy of Art College, San Francisco\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eYear\u003c\/td\u003e\n\u003ctd\u003e2013. Taken from the date on the canvas, which reads 13, not from style\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eSubject\u003c\/td\u003e\n\u003ctd\u003eNevada high desert. A lavender ridge, a dark rimrock crag and a long slope of blooming rabbitbrush under a streaked sky. Specific location not identified\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMedium\u003c\/td\u003e\n\u003ctd\u003eOil on canvas, heavy impasto, worked wet into wet\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eSignature\u003c\/td\u003e\n\u003ctd\u003eSigned and dated in pale blue at the lower left. The reverse of the backing inscribed in ink, Artist Erik Holland\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFrame\u003c\/td\u003e\n\u003ctd\u003eSubstantial stepped molding in a mottled and pitted silver and bronze finish with a reeded outer edge, fitted with a wide cream linen liner. Custom framed by Aaron Brothers, the shop label present on the backing with the framer's name and the inspector's initials completed by hand. Aaron Brothers closed all but three of its stores in March 2018, which sets the outside date for the framing\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eCanvas approximately 14 x 18 in., a medium format picture. Overall framed size is larger with the liner and molding\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. Paint film sound with no cracking, flaking or losses found and the impasto intact. Canvas taut. Frame and linen liner clean and sound with only light handling wear. Aaron Brothers label present and legible on the backing\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eMost landscape paintings on the market are anonymous. This one is by a named working painter with a training record, an exhibition history and gallery representation, and it is signed, dated and inscribed with his name on the back. That is the difference between a decorative canvas and a picture with a person behind it.\u003c\/p\u003e\n\u003cp\u003eThe palette does the work in a room. Lavender and violet against ochre and that carrying yellow is a warm, dusty, western register that sits naturally with oak, leather, worn kilim and unpainted plaster, and it reads well on a white wall without going cold. The silver and bronze frame keeps it from reading rustic.\u003c\/p\u003e\n\u003cp\u003eThe handling is what rewards a close look. Stand back and it is a ridge, a crag and a hillside of blooming brush. Stand close and it is ridges of wet paint pushed around in a hurry by somebody who was standing in front of the thing he was painting.\u003c\/p\u003e\n\u003cp\u003eFor a dealer or a designer working in the Great Basin, this is regional art with the paperwork. The artist is documented, the date is on the canvas, the framing brackets itself, and the subject is the country the buyer is standing in.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67567590670441,"sku":"VE-1781","price":1138.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_aaa57bde-ecad-42d2-88bf-c000342c7b6d.jpg?v=1790748179"},{"product_id":"southwest-pueblo-pottery-still-life-with-sunburst-and-rattle-large-oil-on-canvas-signed-callina-c-1985-1995","title":"Southwest Pueblo Pottery Still Life, Sunburst and Rattle, c. 1985–1995","description":"\u003ch3\u003eThe Painting\u003c\/h3\u003e\n\u003cp\u003eA tabletop of Southwest pottery, painted big and bold. On the left a round seed jar banded in zigzags, stepped terraces and spirals holds a spray of bleached desert branches. On the right a dark jar sits low against a great burnt orange fan whose rays sweep across the top of the canvas like a rising sun. Across the foreground lies a wrapped flute and a gourd rattle banded in coral, turquoise and gold, their pale cords looping loose over the floor tiles.\u003c\/p\u003e\n\u003cp\u003eThe handling is a deliberate mix of techniques. The orange rays are laid on thick with a loaded brush and swirled so each one catches the light. The shadows are soft and airbrushed, and the whole cream ground is flicked with fine spatter in black and rust, which gives it the look of fired clay. Outlines are drawn in dark paint around every form, so the composition reads as cleanly from across a room as a poster does.\u003c\/p\u003e\n\u003cp\u003eIt is a large canvas and it still wears its original frame, a rounded molding in pickled wood washed dusty pink with the grain showing through. Painting and frame were made to be seen together and they still are.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eIn the mid 1980s Santa Fe style left New Mexico and took over American interiors. Bleached wood, adobe pinks, turquoise and terracotta moved into living rooms from Dallas to Seattle, and Pueblo pottery became one of the defining images of the decade. Painters answered with large still lifes built from the language of Pueblo ware: the seed jar, the polished blackware jar that Maria Martinez of San Ildefonso made famous, the banded rattle, the stepped cloud and sunrise forms.\u003c\/p\u003e\n\u003cp\u003eThis canvas belongs squarely to that moment. Rather than copying a particular pot, the painter treats the pottery as pure design, pushing the sunburst into a dramatic backdrop and letting the black jar disappear into its own shadow. The spatter ground, the airbrushed modeling and the pickled pink frame are all hallmarks of the late 1980s and early 1990s, and they are what set the date.\u003c\/p\u003e\n\u003cp\u003eThe painting is signed at the lower right in brown paint with a long sweeping underline. The hand reads as Callina, though the letters are drawn rather than written and Collins is a possible alternative. No painter working under either name has been documented and the hand remains unidentified, which is the ordinary condition of decorative art from this period: it was produced in volume for the interiors trade, sold through galleries and furniture showrooms, and signed without any expectation that the name would be looked up.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eSubject\u003c\/td\u003e\n\u003ctd\u003eStill life of Southwest Pueblo style pottery with a sunburst fan, flute and gourd rattle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1985–1995\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMedium\u003c\/td\u003e\n\u003ctd\u003eOil on stretched canvas with airbrushed shading and a spattered ground\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSignature\u003c\/td\u003e\n\u003ctd\u003eLower right in brown, reading Callina, possibly Collins\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFrame\u003c\/td\u003e\n\u003ctd\u003eOriginal rounded pickled wood molding washed in dusty pink\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. The canvas is taut with no tears, flaking or losses. Fine surface abrasions in the large dark passage are visible in raking light, with a few tiny pale flecks. The frame shows a small chip to the top rail and light wear to the painted finish, in keeping with its age.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eTo be confirmed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThis is a painting that holds a wall on its own. The sunburst gives it a strong horizontal sweep, which makes it a natural fit above a long sofa, a low credenza or a bed, and the palette of terracotta, cream, black and turquoise sits easily with leather, natural linen, warm woods and woven textiles.\u003c\/p\u003e\n\u003cp\u003eIt also brings back a look that is returning in a serious way. Designers are reaching for the warmth of 1980s Southwest interiors again, and a large original from the period, in its original frame, carries that mood with far more presence than anything made today to imitate it.\u003c\/p\u003e\n\u003cp\u003eHang it away from direct sun and heating vents, and dust the surface occasionally with a soft dry brush.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67593575759977,"sku":"VE-1789","price":1663.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_2083bc36-988a-42ed-b36f-22ed65a2173f.jpg?v=1791276014"}],"url":"https:\/\/viridianeclection.com\/collections\/southwest.oembed","provider":"Viridian Eclection","version":"1.0","type":"link"}