{"title":"Storage","description":"","products":[{"product_id":"vintage-climax-military-steel-field-box-c-1940s-olive-drab-storage-chest","title":"Vintage CLIMAX Military Steel Field Box c. 1940s Olive Drab Storage Chest","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA mid twentieth century American steel field box finished in original olive drab enamel, with a stamped CLIMAX industrial locking mechanism and a triple latch front closure.\u003c\/p\u003e\n\u003cp\u003eIt is constructed of folded and riveted steel with a recessed top handle and reinforced corners. The surface shows authentic age, oxidation and wear consistent with military or industrial use.\u003c\/p\u003e\n\u003cp\u003eThe interior retains its original finish, with the production stamp still visible. A single open compartment. This is honest American utility.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThrough the 1940s and early 1950s American manufacturers produced heavy duty steel storage cases for military field operations, equipment transport and tool storage. Companies such as Climax specialized in hardware engineered to survive extreme conditions.\u003c\/p\u003e\n\u003cp\u003eBoxes of this kind were designed to endure field deployment, not to decorate. The olive drab enamel finish was standard issue, chosen to minimize glare and maximize durability.\u003c\/p\u003e\n\u003cp\u003eThe dating rests on the form, the finish and the CLIMAX hardware rather than a dated mark, which places it at approximately the 1940s to 1950s. The object carries that legacy intact.\u003c\/p\u003e\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1940s to 1950s\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSteel field box with recessed top handle, reinforced corners and single open compartment\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eRiveted and folded steel, original olive drab enamel finish\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eCLIMAX stamped locking latch with side closures. Production stamp visible to the interior\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eOriginal finish with visible patina and surface oxidation to the hardware. Minor wear, scratches and finish loss consistent with age and use. Structurally solid, hinges and latches intact. Unrestored\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\n\u003c\/table\u003e\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eRestraint is its own kind of luxury. The box introduces structure and history to a room without a single decorative gesture.\u003c\/p\u003e\n\u003cp\u003eIt works in a study layered with leather and dark wood, in an industrial loft, inside a bar cabinet as concealed storage, or in an office or library that wants weight rather than ornament.\u003c\/p\u003e\n\u003cp\u003eThis is utility elevated by time, an object built for purpose that now lives with intention.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":42957450346601,"sku":"VE-0620","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/vintage_climax_military_steel_field_box_c._1940s_olive_drab_storage_chest771976557373735008151289961.jpg?v=1774757018"},{"product_id":"vintage-black-travel-jewelry-case-c-1950s-1960s","title":"Vintage Black Travel Jewelry Case c. 1950s-1960s","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA compact travel jewelry case finished in a black leatherette style material, closed with a simple snap tab and fitted with metal snap hardware.\u003c\/p\u003e\n\u003cp\u003eThe interior opens to a clean cream lining set with ring rolls, earring placement points, and an open compartment for small jewelry or personal accessories.\u003c\/p\u003e\n\u003cp\u003eThe contrast between the dark exterior and the pale lining gives the box a crisp, tailored look, and the proportions are small enough to travel.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe case is a mid century example of personal storage, made with both function and restraint in mind, and dates to the middle of the twentieth century, most likely the 1950s or 1960s.\u003c\/p\u003e\n\u003cp\u003eNo maker's mark is recorded. The attribution to American manufacture rests on the construction and on the idiom of the design rather than on a signature, so the origin is given as likely United States.\u003c\/p\u003e\n\u003cp\u003eBoxes of this kind were made for travel, dressing tables, and everyday organization, giving rings, earrings, pins, and small keepsakes a tidy and portable home. The understated utility is characteristic of mid century vanity accessories, where even practical objects were given a sense of order and presentation.\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 travel jewelry case\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eMid twentieth century, likely c. 1950s to 1960s\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eLikely United States\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eLeatherette or vinyl exterior, synthetic lined interior, metal snap hardware\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eColor\u003c\/td\u003e\n\u003ctd\u003eBlack exterior with cream interior\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eInterior\u003c\/td\u003e\n\u003ctd\u003eRing rolls, earring storage points, open compartment\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eClosure\u003c\/td\u003e\n\u003ctd\u003eSnap tab closure\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone recorded\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\u003eVintage condition with light scuffing and edge wear to the exterior, minor interior age marks, and general wear consistent with age and use\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eUse\u003c\/td\u003e\n\u003ctd\u003eJewelry storage, travel vanity case, decorative dressing table accessory\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\u003eIt serves as a collectible vanity object and as a working jewelry organizer, which is unusual in a piece of this age. Rings sit in the rolls, earrings in their points, everything else in the open well.\u003c\/p\u003e\n\u003cp\u003eOn a dressing table, a bedside table, or a guest room chest, the black and cream palette reads as tailored rather than decorative, and it sits comfortably with both period furniture and plainer modern casework.\u003c\/p\u003e\n\u003cp\u003eFor a dealer or designer it is the sort of small object that gives a surface a note of mid century domestic history while remaining entirely usable.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43125516107881,"sku":"VE-0803","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/FEF64278-2E59-43ED-960C-F6A8A416F1C3.jpg?v=1776195447"},{"product_id":"refinished-circa-1940s-primitive-cottage-three-drawer-accent-chest-lupo-select","title":"Refinished Circa 1940s Primitive Cottage Three-Drawer Accent Chest, Lupo Select","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA charming \u003c\/span\u003e\u003cspan\u003ecirca 1940s primitive cottage three-drawer accent chest\u003c\/span\u003e\u003cspan\u003e, newly refinished by Lupo Select at \u003c\/span\u003e\u003cspan\u003eViridian Eclection\u003c\/span\u003e\u003cspan\u003e with a soft washed blue-green finish and warm exposed wood drawer fronts. Small in scale but full of character, this piece carries the relaxed utility of early-to-mid 20th-century country furniture with a fresh, design-forward finish.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe chest features three stacked drawers, each with a distinctive circular cutout and horizontal wooden pull. The plank-style top, simple square legs, and straightforward case construction give it that honest handmade quality older cottage pieces tend to have before someone in a factory decided furniture needed to be made entirely of sadness and particle board.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign \u0026amp; Construction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece appears to be an early-to-mid 20th-century primitive or country utility chest, likely originally made for practical household storage. The construction is simple and sturdy, with a rectangular case, straight legs, paneled sides, plank-style top, and three functional drawers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original finish showed aged pale blue-green paint, worn edges, surface marks, and visible use consistent with older painted cottage furniture. Viridian Eclection reworked the piece to preserve its primitive form while giving it a softer, more elevated finish. The drawer fronts have been brought back to a warmer exposed wood tone, while the frame retains a washed blue-green patina that feels relaxed, coastal, and collected.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe circular drawer cutouts are the most distinctive detail. They give the chest a subtle handmade character and visual interest without feeling overly ornate. It works beautifully as a small nightstand, entryway storage piece, powder room chest, or cottage accent table.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBased on the original construction, plank top, drawer design, wear patterns, and old painted surface, this piece is best dated to the \u003c\/span\u003e\u003cspan\u003eearly-to-mid 20th century\u003c\/span\u003e\u003cspan\u003e, with a practical listing date of \u003c\/span\u003e\u003cspan\u003ecirca 1940s\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt reflects the kind of small-scale utility furniture often used in bedrooms, porches, cabins, cottages, and modest homes where pieces were built for function first. The design is unpretentious, useful, and quietly charming, which is apparently rare enough now that we have to celebrate it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis chest is ideal for a space that needs storage without the visual weight of a full dresser. Its compact scale makes it especially useful beside a bed, next to a chair, in a bathroom, tucked into an entryway, or styled under a mirror.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe refinished surface gives it a soft, layered look that works well with cottage, coastal, farmhouse, rustic, bohemian, or collected vintage interiors. The contrast between the warm wood drawer fronts and washed blue-green body keeps it from feeling too polished, while still making it feel intentional and interior-ready.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRefinished primitive three-drawer accent chest\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePrimitive cottage, country utility, farmhouse, coastal cottage\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDate\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCirca 1940s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePeriod\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEarly-to-mid 20th century\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOrigin\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUnited States, likely handmade or small-shop construction\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterials\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWood, painted and refinished surface\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFinish\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWashed blue-green frame with warm exposed wood drawer fronts\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDrawer Count\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eThree drawers\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePull Style\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCircular cutout pulls with horizontal wooden bars\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTop\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePlank-style overhanging top\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLegs\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStraight square legs\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 22 in. W x 16 in. D x 28 in. H\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 22–30 lb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRefinished vintage condition with intentional patina, visible grain, age marks, and character wear\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBest Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eNightstand, bedside chest, entryway storage, bathroom storage, accent table, cottage decor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRestoration Notes\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRefinished by Lupo Select at Viridian Eclection; original primitive form and drawer design retained\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood refinished vintage condition. This piece has been restored and reworked while retaining its primitive cottage character. Expect visible texture, grain movement, small surface marks, softened edges, old construction irregularities, and finish variation throughout. These details are part of the piece’s age and refinished character, not flaws. Drawers are functional and suited for light household storage.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43216902029417,"sku":"VE-0938","price":280.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG-7686.png?v=1778666060"},{"product_id":"vintage-decca-record-album-binder-with-assorted-records-circa-1940s","title":"Vintage Decca Record Album Binder with 10 Assorted Records, Circa 1940s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA beautifully aged \u003c\/span\u003e\u003cspan\u003evintage record album binder\u003c\/span\u003e\u003cspan\u003e, likely dating to the \u003c\/span\u003e\u003cspan\u003e1930s–1940s\u003c\/span\u003e\u003cspan\u003e, with a black embossed cover, gold script lettering, and a collection of assorted vintage records inside. The cover reads \u003c\/span\u003e\u003cspan\u003e“Record Album”\u003c\/span\u003e\u003cspan\u003e in elegant gold script, giving the piece a classic early music-collection look from the era when records were stored like books, because apparently music once required both furniture and upper-body caution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInside, the album includes brown paper record sleeves with circular label windows and a printed \u003c\/span\u003e\u003cspan\u003eDecca\u003c\/span\u003e\u003cspan\u003e index page for documenting artist, title, and record numbers. Several records remain inside, with visible labels including \u003c\/span\u003e\u003cspan\u003eDecca\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eBluebird\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan\u003ePearl\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign \u0026amp; Construction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis record album is constructed as a hardbound storage binder, designed to hold individual records in paper sleeves. The black exterior has a leatherette-style surface with an embossed decorative border and gold lettering at center. The interior features a hinged spine structure with bound sleeves, each made to protect and organize records.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe album appears to have been intended for \u003c\/span\u003e\u003cspan\u003e10-inch records\u003c\/span\u003e\u003cspan\u003e, likely 78 RPM shellac records, though at least one visible Decca record appears to be a later \u003c\/span\u003e\u003cspan\u003e33⅓ microgroove\u003c\/span\u003e\u003cspan\u003e pressing. This suggests the album may have been used over time as a general storage binder for assorted records rather than retaining only its original contents.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visible records include labels such as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eDecca\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eBluebird\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003ePearl\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ A visible \u003c\/span\u003e\u003cspan\u003eSophie Tucker\u003c\/span\u003e\u003cspan\u003e Decca record titled \u003c\/span\u003e\u003cspan\u003eA Collection of Songs She Has Made Famous\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ A visible Bluebird label for \u003c\/span\u003e\u003cspan\u003e“Sweet Violets” \/ Fox Trot\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ A visible Pearl label with novelty-style song title text\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBefore the rise of modern vinyl LP albums, multiple individual records were often stored in bound albums like this one. These storage binders gave record collections a book-like format, allowing owners to organize titles and artists while protecting fragile shellac discs from dust and handling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Decca index page, black embossed cover, paper sleeves, and general construction point to an \u003c\/span\u003e\u003cspan\u003eearly-to-mid 20th-century date\u003c\/span\u003e\u003cspan\u003e, with a practical listing estimate of \u003c\/span\u003e\u003cspan\u003ecirca 1940s\u003c\/span\u003e\u003cspan\u003e for the binder. The records inside may vary in age and may not all be original to the album, which is very normal for old record collections, because humans have been mixing things up and making cataloging difficult since the dawn of storage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is perfect for music lovers, collectors of early record ephemera, vintage media displays, libraries, bars, offices, listening rooms, or styled shelves. Even when not played, the album has strong decorative value: black cover, gold script, aged paper sleeves, visible record labels, and the kind of tactile history modern playlists absolutely do not have.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt can be displayed closed as a handsome vintage binder or opened to show the old record sleeves and labels. It brings a collected, nostalgic layer to a room, especially when styled with books, brass objects, framed music prints, barware, or antique audio pieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"975.5\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVintage record album binder with assorted records\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCover Title\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRecord Album\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eInterior Marking\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecca index page\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDate\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCirca 1940s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePeriod\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEarly-to-mid 20th century\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRecord Labels Visible\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecca, Bluebird, Pearl\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVisible Artist \/ Title\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSophie Tucker, A Collection of Songs She Has Made Famous\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFormat\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDesigned for 10-inch records; appears to include assorted vintage records\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLikely Record Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e78 RPM shellac records, with at least one later 33â…“ microgroove record visible\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHardbound cover, leatherette-style exterior, paper sleeves, records\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor Palette\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBlack cover with gold lettering; tan paper sleeves; assorted record labels\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCapacity\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 10 record sleeves\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 12 in. W x 10.5 in. H x 1.5–2 in. D\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 4–7 lb depending on number of records included\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eAged vintage condition with visible wear to cover, sleeves, and records\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBest Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMusic room decor, collector display, vintage media styling, record ephemera collection, library or bar decor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAged vintage condition. The exterior cover shows scuffs, rubbing, edge wear, surface marks, and age-related wear. Interior sleeves show toning, creasing, tearing, and paper fragility consistent with age. Records are included but have not been play-tested. Record condition is unknown and may include surface wear, scratches, chips, or age-related imperfections. Sold as a decorative vintage record album and assorted record collection.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43217299472489,"sku":"VE-0941","price":46.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/4EB49EA0-8B43-4A30-8ECA-0570324362B0.png?v=1778670909"},{"product_id":"untitled-may17_01-55-33","title":"Vintage Coca-Cola Chrome Jukebox Cookie Jar by Gibson","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA playful piece of Coca-Cola collectible kitchenware, this ceramic jukebox cookie jar brings all the charm of a 1950s soda fountain counter without requiring anyone to actually maintain a jukebox, which is probably for the best.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigned in a rounded tabletop jukebox form, the jar features a high-shine chrome-style silver finish, red Coca-Cola branding, molded side details, and a faux song-selector panel across the front. The top lid lifts away for storage, making it functional as a cookie jar, candy jar, display canister, or nostalgic bar-cart accent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front panel includes classic diner-style graphics, including letter and number selectors, red directional arrows, and the Coca-Cola script logo. The top features molded coin-play graphics reading “10¢ \/ 25¢” and “4 Plays Quarter,” giving the piece a cheerful retro advertising look.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign \u0026amp; Construction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is made from ceramic with a reflective silver chrome-style glaze or painted finish. The shape is substantial and sculptural, with exaggerated rounded sides and a removable top lid. The underside carries the licensed Coca-Cola mark along with the Gibson mark, identifying it as a Gibson-produced Coca-Cola collectible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile the design references mid-century jukebox culture, this is best dated to the \u003c\/span\u003e\u003cspan\u003ecirca 2000 \/ early 2000s\u003c\/span\u003e\u003cspan\u003e period based on comparable Gibson Coca-Cola cookie jars. It should be listed as a \u003c\/span\u003e\u003cspan\u003evintage-style licensed collectible\u003c\/span\u003e\u003cspan\u003e, not a 1950s item. Annoying distinction, but the truth has rudely entered the room.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCoca-Cola collectibles have long crossed over between advertising memorabilia, kitchenware, diner decor, and pop-culture nostalgia. In the late 20th and early 21st century, licensed Coca-Cola home goods became especially popular among collectors who wanted the visual language of old soda fountains, gas stations, diners, and Americana without needing original commercial advertising pieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis Gibson cookie jar fits into that collectible wave: a decorative, licensed Coca-Cola piece made for display and everyday use, designed to evoke the look of a vintage diner jukebox rather than function as an antique advertising item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with visible cosmetic wear. The chrome-style finish shows scuffing, surface scratches, rubbing, and areas of paint loss, especially on the front Coca-Cola panel and surrounding silver finish. The red and black graphics remain visible and charming. The lid appears present. No major structural cracks are visible in the provided photos, but this should be inspected closely before final listing because ceramic loves betrayal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the kind of piece that works because it does not take itself too seriously. It brings instant retro diner energy to a kitchen shelf, breakfast nook, bar cart, game room, pantry counter, or Coca-Cola collection. The chrome finish gives it a little theatrical shine, while the worn areas make it feel less precious and more lived-in.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is ideal for anyone styling a vintage-inspired kitchen, Americana display, soda-shop collection, or nostalgic countertop moment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDetail\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eInformation\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eItem\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCoca-Cola Jukebox Cookie Jar\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaker \/ Brand\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGibson, licensed by The Coca-Cola Company\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDate \/ Era\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCirca 2000 \/ early 2000s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRetro diner, Americana, Coca-Cola advertising collectible\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCeramic with chrome-style silver finish\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSilver, red, black, cream\/tan\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eForm\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTabletop jukebox-shaped cookie jar \/ canister\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLid\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRemovable ceramic lid\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMarkings\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUnderside marked with Coca-Cola and Gibson licensing marks\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 8” x 11.25” based on comparable examples; verify actual measurements before final listing\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWeight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePlease weigh before listing; likely a heavier ceramic piece\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with visible chrome finish wear, scuffing, scratches, and paint loss\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBest Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eKitchen display, cookie jar, candy jar, bar cart decor, Coca-Cola collection, diner-style styling\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43228266266729,"sku":"VE-0985","price":49.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/FullSizeRender.jpg?v=1779008917"},{"product_id":"vintage-woven-bamboo-storage-basket-c-1960s-lidded-chinoiserie-style-decorative-chest","title":"Woven Bamboo Storage Basket, c. 1960s | Lidded Chinoiserie-Style Decorative Chest","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA vintage woven bamboo storage basket, c. 1960s.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eRectangular lidded form with domed basket-weave top, woven body panels, turned corner supports, metal latch hardware, and rope-style side handles.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eInterior finished in a green-dyed woven bamboo pattern.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis mid-century bamboo basket has the kind of sculptural utility that makes modern storage bins look like crimes against domestic dignity. The exterior features a warm brown woven bamboo surface with a raised domed lid, structured wood\/bamboo rails, turned corner posts, and aged metal latch hardware at the front.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInside, the piece opens to reveal a green-dyed woven bamboo interior, giving the basket a strong decorative contrast and a more finished presentation. The form suggests use as a household storage basket, sewing basket, craft chest, picnic-style hamper, or decorative lidded floor basket.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eObject:\u003c\/span\u003e\u003cspan\u003e Lidded woven bamboo storage basket \/ decorative chest\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003cspan\u003e Vintage, c. 1960s\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eStyle:\u003c\/span\u003e\u003cspan\u003e Mid-century, chinoiserie-inspired, bohemian, Asian export-style decorative ware\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eMaterial:\u003c\/span\u003e\u003cspan\u003e Woven bamboo, wood\/bamboo frame, metal latch and hinge hardware, rope-style side handles\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eExterior:\u003c\/span\u003e\u003cspan\u003e Warm brown woven bamboo with raised domed lid\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eInterior:\u003c\/span\u003e\u003cspan\u003e Green-dyed woven bamboo\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eHardware:\u003c\/span\u003e\u003cspan\u003e Metal front latch, rear hinge, side handle fittings\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eForm:\u003c\/span\u003e\u003cspan\u003e Rectangular basket chest with turned corner supports\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with age-appropriate wear throughout. The woven bamboo shows natural fading, surface dryness, small separations, lifted strips, and finish wear consistent with age and use. The metal latch and hinge hardware have visible patina and oxidation. The frame edges and turned corner supports show rubbing, scuffs, and finish loss. The green-dyed interior remains visually strong with expected tonal variation, darkening, and wear from use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe basket retains its original decorative character and functional lidded form, with visible patina that supports its 1960s vintage presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece brings texture, warmth, and history into a room without needing to scream for attention like half the “boho storage” currently being produced by machines with no soul. The domed lid, woven body, turned supports, aged hardware, and green interior give it more presence than a standard basket, making it useful as both storage and styling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt works beautifully in an entryway, bedroom, studio, bathroom, sunroom, or living space for storing textiles, craft supplies, keepsakes, magazines, or everyday objects. The green interior adds an unexpected design detail, making it especially appealing for layered, collected interiors with mid-century, organic, chinoiserie, coastal, or eclectic styling.\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable width=\"1213.5\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eField\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eProduct Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLidded woven bamboo storage basket \/ decorative chest\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1960s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMid-century, chinoiserie-inspired, bohemian, Asian export-style\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePrimary Material\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWoven bamboo\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSecondary Materials\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWood\/bamboo frame, metal hardware, rope-style side handles\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eExterior Color\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWarm brown bamboo with aged finish variation\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eInterior Color\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGreen-dyed woven bamboo\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eShape\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRectangular with domed lid\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eLid Style\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHinged domed woven lid\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHardware\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMetal front latch, rear hinge, side handle mounts\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHandles\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRope-style side handles\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSupports\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eTurned corner supports \/ legs\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with surface wear, patina, oxidation, small woven separations, lifted strips, finish loss, and age-related discoloration\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ctable width=\"964.0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRecommended Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDecorative storage, textile basket, craft basket, entryway storage, shelf styling, studio storage, prop styling\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43248401317993,"sku":"VE-1035","price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/CDA0A66E-9D05-41FA-9FA7-32A658756969.jpg?v=1779859254"},{"product_id":"vintage-woven-rattan-display-basket-c-1950s-rectangular-vanity-tray","title":"Vintage Woven Rattan Display Basket, c. 1950s | Rectangular Vanity Tray","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA vintage woven rattan display basket, c. 1950s.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eRectangular open form with wrapped rim, woven side panels, and dark stained base.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eFinished in warm honey-brown and deep brown tones with visible aged patina.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis mid-century basket features a structured rectangular form with tightly woven rattan sidewalls and a flat dark base. The sides are formed with vertical and angled woven strips, giving the piece a strong architectural texture while keeping the form practical for display or storage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe basket has a warm, aged finish with darker patina across the base and corners. Its open shape makes it useful as a countertop tray, vanity basket, desk organizer, bread basket, entryway catchall, or styling piece for shelves and tables.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eObject:\u003c\/span\u003e\u003cspan\u003e Rectangular woven rattan basket \/ display tray\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003cspan\u003e Vintage, c. 1950s\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eStyle:\u003c\/span\u003e\u003cspan\u003e Mid-century, organic, bohemian, rustic traditional\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eMaterial:\u003c\/span\u003e\u003cspan\u003e Woven rattan \/ wicker, dark stained base\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eForm:\u003c\/span\u003e\u003cspan\u003e Rectangular open basket\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eRim:\u003c\/span\u003e\u003cspan\u003e Wrapped rounded rim\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eExterior:\u003c\/span\u003e\u003cspan\u003e Woven rattan sidewalls with warm aged finish\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eInterior:\u003c\/span\u003e\u003cspan\u003e Open storage well with dark base\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003cspan\u003e Approx. 15 in L × 7.5 in W × 4 in H\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e→ \u003c\/span\u003e\u003cspan\u003eWeight:\u003c\/span\u003e\u003cspan\u003e Approx. 2 lb\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with age-appropriate wear throughout. The woven rattan structure remains intact and visually strong, with surface darkening, finish variation, scuffs, small nicks, and patina consistent with age and use. The base shows visible wear, scratches, and tonal variation. The rim and corners show rubbing and small finish losses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece retains its original vintage character and remains suitable for decorative storage and display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis basket brings warmth, texture, and practical utility into a space without looking like it came from the sad beige aisle of a big-box store. The woven sides and darkened base give it the kind of layered surface that works naturally in collected interiors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUse it on a coffee table, vanity, kitchen counter, entry console, studio shelf, or desk. It works beautifully for storing rolled linens, mail, fruit, bread, small accessories, apothecary bottles, remotes, or everyday objects that somehow multiply when no one is looking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"999.2\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eField\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eProduct Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRectangular woven rattan basket \/ display tray\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1950s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStyle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMid-century, organic, bohemian, rustic traditional\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ePrimary Material\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWoven rattan \/ wicker\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSecondary Material\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDark stained base\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eShape\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRectangular\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eForm\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOpen basket \/ tray\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRim\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWrapped rounded rattan rim\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eExterior Color\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eHoney brown, dark brown, aged amber tones\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eInterior\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eOpen storage well with dark base\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 15 in L × 7.5 in W × 4 in H\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eWeight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 2 lb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with surface wear, finish variation, scuffs, small nicks, base wear, and age-related patina\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eRecommended Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVanity tray, bread basket, fruit basket, entryway catchall, desk organizer, shelf styling, tabletop display\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43248446636137,"sku":"VE-1037","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG-8501.png?v=1779862068"},{"product_id":"small-clear-glass-apothecary-bottle-with-ground-stopper-c-1940s","title":"Small Clear Glass Apothecary Bottle with Ground Stopper, c. 1940s","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCirca 1940s small clear glass apothecary or vanity bottle.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCylindrical glass body with rounded shoulders, thick base, and fitted ground glass stopper.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eUnmarked, with faint yellow-green glass tone and age-consistent residue at the neck.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis small glass bottle has a simple cylindrical form with a rounded shoulder and fitted stopper, the type commonly used for perfume, apothecary liquids, tinctures, oils, or vanity storage. The stopper has a frosted ground-glass contact area, allowing it to sit securely in the neck without a cork or screw cap.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe glass has a faint greenish-yellow cast, visible thickness at the base, and subtle cloudiness around the stopper and neck. Its compact scale and utilitarian form give it a quiet 1940s apothecary feel without overplaying it into “Victorian medical miracle bottle,” because apparently glass gets one wrinkle and everyone wants it to be from a haunted pharmacy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition + Updates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition with the original-style glass stopper present. The bottle appears intact, with no obvious large chips or cracks visible in the provided photos. The glass shows light surface cloudiness, faint residue, and discoloration around the neck and stopper contact area.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stopper and rim may show minor age-appropriate wear from use. The surface and interior have the kind of faint clouding expected from a small utility or vanity bottle of this period. It presents well as a decorative apothecary object or small collectible glass bottle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistorical Context\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSmall glass stopper bottles were common across the early and mid-20th century for household, vanity, apothecary, and laboratory use. By the 1940s, many were machine-made but still retained the older practical design language of earlier pharmacy and perfume bottles: clear glass, thick bases, narrow necks, and ground glass stoppers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis bottle fits that transitional utility style. It is not heavily decorative, branded, or ornate. Instead, its appeal is in its small scale, simple construction, and the tactile detail of the stopper. It belongs to the category of everyday glass objects that survived because someone, somewhere, refused to throw away a tiny bottle. For once, hoarding produced inventory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy This Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece works beautifully in a vanity vignette, bathroom shelf, apothecary cabinet, curiosity display, or layered tabletop arrangement. Its clear glass form keeps it quiet and versatile, while the stopper gives it enough shape and character to stand alone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt can be displayed with other small bottles, brass objects, antique mirrors, linen, dark wood, dried botanicals, or vintage grooming pieces. Without the stopper, it can also hold a single dried stem or small flower. It is small, useful, and visually restrained, which is more than can be said for most objects people insist on calling “statement pieces.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"976.5\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDetail\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eObject Type\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSmall apothecary \/ perfume \/ vanity bottle\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eEra\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003ec. 1940s\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMaterial\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eClear glass\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eStopper\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eGround glass stopper\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eShape\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eCylindrical body with rounded shoulders\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eColor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eClear with faint green-yellow tint\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eBase\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eThick clear glass base\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eMarkings\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eUnmarked\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eClosure\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eFitted stopper\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Dimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e2.75–3.5 in. H x 1–1.25 in. diameter\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eApprox. Weight\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003e2–4 oz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eSuggested Use\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"middle\"\u003e\n\u003cp\u003e\u003cspan\u003eVanity styling, apothecary display, perfume bottle collection, cabinet display, small bud vase without stopper\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":43253973450857,"sku":"VE-1063","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/836E5864-440B-40C7-8E32-EA036ACF98F4.png?v=1780047886"},{"product_id":"antique-edwardian-art-nouveau-carved-oak-triple-wardrobe-bevelled-mirror-door-poppy-and-bird-head-panels-c-1900-1910","title":"Antique Edwardian Art Nouveau Carved Oak Triple Wardrobe, Bevelled Mirror Door, Poppy and Bird-Head Panels, c. 1900–1910","description":"\u003cp\u003e\u003cstrong\u003eThe Piece\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA triple-front wardrobe in quartersawn oak, the central door set with a full-length bevelled mirror under a serpentine crest and a carved fan. Flanking it, two tall panelled doors are crowned with deeply carved Art Nouveau panels — poppies on whipping stems, trailing foliage, and at the center of each a pair of stylized bird heads facing one another, beaks open, framed by looping tendrils. The carving stands well proud of the ground and is cut through in places; this is worked timber, not applied composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbove runs a stepped cornice with dentil moulding over a heavy gadrooned band, each lobe individually cut. Brass drop handles with cast foliate backplates hang from the doors, each finished with a silk tassel. Inside, the case is lined in its original blue fabric, fitted with a pull-out extending hanging rail and two graduated oak drawers with pressed brass oval plates. The whole rests on a moulded plinth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHistory \u0026amp; Provenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy 1900 the wardrobe had become the defining object of the English bedroom, and the trade answered with the compactum — a single case combining hanging space, drawers, and shelving where a household had previously needed three pieces of furniture. This is that form, made in the brief window when Art Nouveau ornament reached commercial English cabinet shops.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe carving is the tell. The poppy and the sinuous stem belong to the new style that arrived from the Continent in the 1890s, but the confronting bird heads are older and stranger — a motif that runs back through Gothic manuscript borders and Renaissance grotesques, absorbed here into the Nouveau vocabulary. English carvers of this period drew on both. The result is a piece that reads as forward-looking and ancient at once, which is exactly what the moment produced and exactly why so little of it survives with the carving intact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWardrobes of this scale were built to come apart — cornice, sides, back, and doors separating for delivery up a staircase. It is why they reached the upper floors of terraced houses, and why they can still reach yours.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eField    Detail\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eObject    Triple-front wardrobe \/ compactum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMaterials    Quartersawn oak; pine secondary; brass hardware\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCarving    Art Nouveau poppy and foliate panels with confronting bird heads; carved fan to mirror crest\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMirror    Full-length bevelled plate, serpentine top\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCornice    Stepped, with dentil and gadrooned mouldings\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFittings    Pull-out extending hanging rail; two graduated interior drawers; original blue fabric lining\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHardware    Cast brass drop handles with foliate backplates and silk tassels; brass oval drawer plates\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrigin    English (to be confirmed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEra    c. 1900–1910\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions    [ pending measurement — height, width, depth ]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition    Very good; structurally sound, all doors functional. Condition Guaranteed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAvailability    One of a Kind — 1 Available\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhy It Belongs in Your Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery few houses built in the last fifty years have enough closet space, and none of them have anything that looks like this. A wardrobe of this scale does the work of a closet and then does something a closet cannot — it gives a bedroom a center of gravity, a single object of real presence that the rest of the room arranges itself around. The bevelled mirror puts light back into the space. The blue lining is a small pleasure every time the doors open.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt also has a second life: strip the rail, add shelves, and it becomes a linen press, a bar, a pantry cupboard, or the storage wall of a home office. Furniture built to come apart is furniture that can go anywhere, and this one was built by people who assumed it would still be in use a century on.\u003c\/span\u003e\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":47912993620073,"sku":"VE-1297","price":3640.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/antique_edwardian_art_nouveau_carved_oak_triple_wardrobe_bevelled_mirror_door_poppy_and_bird-head_panels_c._19001910941773881354536215483007081.jpg?v=1787623092"},{"product_id":"spindle-front-cabinet-in-sheesham-turned-grille-doors-with-iron-ring-pulls-and-slide-bolts-anglo-indian-manner-c-1990-2015","title":"Spindle-Front Display Cabinet in Sheesham, Turned Grille Doors over Three Fixed Shelves, Anglo-Indian Manner, c. 1990–2015","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA compact two-door display cabinet in solid dark hardwood, built so that what is inside it stays visible. Each door is divided into three registers: an arched grille of turned spindles at the top, a second bank of spindles below it, and a raised flat panel at the foot. The spindles are turned round and set close, so from a few feet away the doors read as a screen — what is behind them shows without being reachable.\u003c\/p\u003e\n  \u003cp\u003eInside are three fixed shelves in solid plank, housed into the sides. They are deep enough to stand dinner plates upright against the back boards, and the vertical rhythm of the spindles makes a good backdrop for them.\u003c\/p\u003e\n  \u003cp\u003eThe carcase is plain and does its job quietly. A moulded cornice caps the top, the sides are single wide boards, and the whole thing stands on a shaped bracket base with a scalloped apron across the front.\u003c\/p\u003e\n  \u003cp\u003eThe hardware is iron, dark and hand-finished: a ring pull on each door, a small shaped escutcheon below, and on the reverse of the left door a sliding barrel bolt on a shaped backplate that drops into the frame and holds the pair shut.\u003c\/p\u003e\n  \u003cp\u003eThe timber runs a deep reddish brown shot through with much darker purple-brown streaking, strongest on the interior shelves and the back boards. The top is dry and faded toward grey at the front edge, carrying open checks along the grain.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe form is Anglo-Indian. Turned spindle grilles in a door are an old solution to a hot climate — they let air move through a cupboard while keeping animals and dust out of what is stored inside — and the same vocabulary runs across South Asian domestic furniture in safes, meat cupboards and provision presses. Married to a moulded cornice, a raised panel and a bracket base, all British cabinet conventions, the result is the hybrid the trade calls Anglo-Indian.\u003c\/p\u003e\n  \u003cp\u003eThis cabinet is offered as what it is: solid hardwood, built in the Anglo-Indian idiom in the Rajasthan export tradition, dated \u003cstrong\u003ec. 1990–2015\u003c\/strong\u003e. It is not represented as an antique.\u003c\/p\u003e\n  \u003cp\u003eThe wood presents as \u003cem\u003esheesham\u003c\/em\u003e, the Indian rosewood \u003cem\u003eDalbergia sissoo\u003c\/em\u003e, which is the dominant export timber for this furniture. It has not been formally identified, so it is described here as sheesham or a related dense tropical hardwood.\u003c\/p\u003e\n  \u003cp\u003eThe cabinet has recently been cleaned and fed with a beeswax, carnauba and orange-oil conditioner. That is maintenance rather than a refinish — nothing was stripped, sanded or recoloured.\u003c\/p\u003e\n  \u003cp\u003eScattered small round exit holes from a wood-boring beetle are present, concentrated along board edges and across the back and interior surfaces. They are old and inert. Full detail is in the condition note below.\u003c\/p\u003e\n  \u003cp\u003eThere is no maker's stamp, importer label, shipping stencil or date anywhere on the carcase, the back or the underside.\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;\"\u003eTwo-door spindle-front display cabinet\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;\"\u003eAnglo-Indian idiom, in the Rajasthan export tradition\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;\"\u003eRectangular carcase with moulded cornice over two doors, each with an arched turned-spindle grille above a second spindle bank and a raised panel below; shaped bracket base with scalloped apron; solid plank back\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eShelving\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eThree fixed solid-plank shelves housed into the sides, deep enough to stand dinner plates upright\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;\"\u003eSolid dense tropical hardwood presenting as sheesham (Indian rosewood), stained and sealed; iron hardware\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;\"\u003eIron ring pull and shaped escutcheon to each door; sliding barrel bolt on a shaped backplate to the reverse of the left door\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\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. 1990–2015. Offered as a cabinet in the Anglo-Indian manner, not as 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 and structurally sound. The carcase is square and rigid, all three shelves are solid and seated, both doors hang true on their hinges and close correctly, and the ring pulls, escutcheons and sliding bolt are all present and working. The interior is clean and unmarked. The top carries open checks and splits along the grain with a dry, faded surface, and there is some erosion and chipping to the front edge of the cornice; neither affects the structure. There is light handling wear to the base and corners. No loose joints, no missing spindles, no repairs. Recently cleaned and conditioned with a beeswax, carnauba and orange-oil dressing — maintenance, not a refinish. \u003cstrong\u003eScattered small round wood-boring beetle exit holes are present\u003c\/strong\u003e, concentrated along board edges and across the back and interior surfaces; they are old and inert. The piece is monitored for fresh frass and is not offered while any is present. 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\u003eThis was built to hold things and show them at the same time, which is the whole job of a small retail fixture. Three fixed shelves take plates standing upright, stacked bowls, glassware, candles, soap, jars, small framed work or boxed goods, and the spindle grille lets a customer see there is stock inside without being able to reach through it.\u003c\/p\u003e\n  \u003cp\u003eThe sliding bolt actually latches, so a case of higher-ticket small goods can be shut at close without anything coming off the shelves. Doors open flat when you want the merchandise handled; closed, the same shelves read as a styled vignette rather than storage.\u003c\/p\u003e\n  \u003cp\u003eIn a tight footprint it works beside a register, at the end of an aisle, in a window, against a column, or as the piece that anchors a corner display. And because it is one of a kind rather than a catalogue fixture, it merchandises and styles the room in the same move — which slat wall and wire racking will never do.\u003c\/p\u003e\n  \u003cp\u003eAt home the same three shelves take dishes, glassware, linens, towels, books or bar things, and it slots in beside a bed, in an entry, under a window, or at the end of a hallway where a full cabinet will not go.\u003c\/p\u003e\n  \u003cp\u003eDark reddish-brown hardwood with heavy figure is difficult to buy new at any sane price, and it sits naturally with brass, leather, cream walls, rattan, kilim and every warm wood tone already in a room. Against a pale wall the spindles throw a rhythm of vertical shadow that no flat door can.\u003c\/p\u003e\n  \u003cp\u003eA note on care. This is solid wood with an original finish, so keep it out of direct sun and away from a heating vent, which is what opens checks like the ones already in the top. It has just been cleaned and fed, so it arrives hydrated and wants nothing on it for a good while. Dust it dry, wipe spills immediately, and feed it once or twice a year with a beeswax or clear paste wax, worked in and buffed off. Keep silicone sprays and boiled linseed oil off it entirely — silicone builds a haze that has to be stripped before anything else will take, and linseed darkens and gums as it ages. The beetle holes are old and inert and need nothing; if fine flour-like powder ever appears beneath the piece, isolate it and have it treated. Leave the iron alone — the dark finish on it is correct, and polishing it bright will make the cabinet look worse. If you move it, lift from the carcase rather than the cornice.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48029758816361,"sku":"VE-0672","price":276.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_3776copy.jpg?v=1789011292"},{"product_id":"daher-easter-tin-oval-lidded-container-lithographed-with-a-rabbit-and-spring-bulbs-on-red-and-white-stripe-english-made-for-daher-of-long-island-city-c-1963-1980","title":"Daher Easter Tin, Oval Lidded Container Lithographed with a Rabbit and Spring Bulbs on Red and White Stripe, English-Made for Daher of Long Island City, c. 1963–1980","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small oval tin with a lift-off lid, lithographed rather than painted, in a colour scheme that is doing more work than it first appears. The body is white, banded with narrow red stripes, and between every pair of stripes sits a small red sprig device repeated all the way around. It is a nineteenth-century confectioner's pattern — the striped ticking that biscuit and sweet tins used for a hundred years — and it is there to make the lid read as a picture in a frame.\u003c\/p\u003e\n  \u003cp\u003eThe lid carries the whole scene. A rabbit sits upright with its arms wrapped around a large decorated egg, ears up, facing out, and behind it a spring border runs to the rim — white narcissus with orange centres, red and orange tulips, and one blue bell-shaped bloom, all against a pale sky. The drawing is commercial illustration of a very particular period: clean outline, flat colour laid inside it, a single dark line to model the ear and the haunch, no shading to speak of. It was made to survive being printed on metal at speed, and it has.\u003c\/p\u003e\n  \u003cp\u003eThe tinplate holds its shape, the lid seats properly on the rolled rim and lifts off cleanly, and the interior is bright. The base is embossed rather than printed — struck into the metal itself, which is why it is still perfectly legible after sixty years of whatever this tin has held.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe mark on the base reads \u003cstrong\u003eDESIGNED BY DAHER \/ LONG ISLAND · N.Y. \/ 11101 \/ CONTAINER MADE IN ENGLAND\u003c\/strong\u003e, and it answers the obvious question precisely: the tin itself was made in England. “Container” is the object in your hands. Daher, in Long Island City, did the design and the importing; an English tinplate works did the printing and the forming.\u003c\/p\u003e\n  \u003cp\u003eThat was the whole business model, and it was not a compromise. Britain had been the world's tinplate printer since the middle of the nineteenth century, and by the postwar decades the English decorated-tin trade was still the one American giftware houses went to when they wanted offset lithography on metal done properly. Daher designed for the American market and had the work executed where the presses were.\u003c\/p\u003e\n  \u003cp\u003eThe mark also dates the tin, and unusually for an unmarked-era object it dates it from two directions at once. The company began in 1952 as Daher Limited, manufacturing all of its tins in England; in \u003cstrong\u003e1980 it was renamed The Tin Box Company of America and moved production to Hong Kong\u003c\/strong\u003e. An England-marked Daher tin therefore cannot be later than 1980. And the mark carries a \u003cstrong\u003eZIP code — 11101\u003c\/strong\u003e — which cannot be earlier than 1 July 1963, when the United States Post Office introduced the system. The window closes to roughly 1963 to 1980 on the base of the tin alone, with no guessing from style.\u003c\/p\u003e\n  \u003cp\u003eOne small correction to a thing the mark says. “Long Island” is Daher's own shorthand; ZIP 11101 is \u003cem\u003eLong Island City\u003c\/em\u003e, which is in Queens, in New York City, and not on Long Island in the sense most people mean. That is the company's abbreviation, not an error on this tin, and it appears the same way on everything they marked.\u003c\/p\u003e\n  \u003cp\u003eThere is no separate maker's mark for the English works, which is normal — the printer's name almost never appears on trade-designed tins of this kind, because the tin was sold under the designer's name and the factory was a subcontractor.\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;\"\u003eOval lidded decorative tin\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMaker\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eDesigned by Daher, Long Island City, New York; container manufactured in England\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;\"\u003eOval body with rolled rim and lift-off lid\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;\"\u003eOffset lithography on tinplate. Lid with a rabbit, a decorated Easter egg, narcissus and tulips; body in white with narrow red stripes and repeating red sprig devices\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;\"\u003eLithographed tinplate\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;\"\u003eEmbossed to the base: DESIGNED BY DAHER \/ LONG ISLAND · N.Y. \/ 11101 \/ CONTAINER MADE IN ENGLAND\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. 1963–1980, fixed by the ZIP code in the mark at one end and the company's 1980 move to Hong Kong manufacture at the other\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCondition\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eVery good. The lithography is bright and the colours are strong, with the rabbit, egg and flowers on the lid complete and unfaded. The tin is true, the lid seats correctly on the rim and lifts off cleanly, and the base mark is crisp. There is light handling wear consistent with age — fine surface scratching across the bare tinplate of the base and a few small scuffs through the print where the lid has been taken on and off — and no dents, no splits at the seam, and no rust inside or out. 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\u003eHoliday decorating usually means buying things that have no life for the other eleven months. This one does. It is a lidded container that happens to have a rabbit on it, so it earns a shelf in March and keeps it in September — a red and white stripe with a spring garden on the lid reads as cottage pattern long before it reads as Easter.\u003c\/p\u003e\n  \u003cp\u003eIt is also the right scale for the jobs nobody has a good container for: hair pins on a dresser, seed packets on a potting bench, tea bags beside a kettle, receipts, stamps, buttons, small change, a set of keys by a door. Tin does not absorb odour and does not stain, which is more than can be said for the basket it would otherwise be.\u003c\/p\u003e\n  \u003cp\u003eAnd a lithographed tin is one of the few genuinely affordable ways to put a piece of mid-century commercial illustration into a room. That rabbit was drawn by a working artist for a press run, and the flat colour and hard outline it needed to survive printing are exactly what make it read well from across a kitchen.\u003c\/p\u003e\n  \u003cp\u003eA note on care and use. \u003cstrong\u003eWe would not use this for food in direct contact.\u003c\/strong\u003e Mid-century lithographic inks and the lacquers used to line tinplate were not made to any modern food-contact standard, and there is no way to know from the outside what the interior coating is. Line it with paper or a bag if you want to keep biscuits or tea in it, or simply use it for dry non-food things, which is what most of these are doing now. Never put it in a dishwasher and never submerge it — tinplate rusts from the seam and the underside of the rim first, where you cannot see it, and water that gets in will not come out. Wipe it with a barely damp cloth, dry it immediately, and keep it out of direct sun, which will pull the reds and yellows down over time. Do not use any abrasive, cream cleaner or metal polish on it; the decoration is printed, it sits on the surface, and it will come off.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48029995663465,"sku":"VE-0663","price":66.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_37962.jpg?v=1789011203"},{"product_id":"cast-iron-three-hook-rack-with-hand-painted-setter-and-potted-tulip-c-1990-2020","title":"Cast Iron Three-Hook Rack with Hand-Painted English Setter and Potted Tulip, Brazed Hand-Forged Hooks, American, c. 1925–1955","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small wall rack cast in iron and hand-painted, and the design is a little scene rather than a plaque. A long-coated setter walks the top of a rail fence, nose up and tail out straight behind it, and at the far end of the rail sits a terracotta pot with a single red tulip standing in green leaves. The dog is caught mid-stride with one forefoot lifted, which is what gives the whole thing its motion.\u003c\/p\u003e\n  \u003cp\u003eThe painting is done by hand over the raw casting. The dog is white with black ticking sponged across the flanks, a black muzzle and ear, a black eye and a red mouth line. The tulip is scarlet over a yellow-ochre pot, the leaves a flat spring green, and the rail is left dark. The white has been laid on generously enough that it has run over the outline and shows around the edges on the reverse.\u003c\/p\u003e\n  \u003cp\u003eBelow the rail hang three hooks, and they are forge work rather than cut stock. Each one tapers along its length, swells again where the tip turns up, and finishes in a rounded return that has been upset — thickened under the hammer — rather than simply bent. The screw hole through each shank is punched rather than drilled: slightly out of round, with a raised lip on the exit side where the hot metal was pushed through. Two further holes pass through the backplate itself, so the rack fixes to the wall at five points.\u003c\/p\u003e\n  \u003cp\u003eThe reverse is raw dark iron with the sand-cast texture left as it came out of the mould, and the openwork of the fence rails and the dog's legs is cut clean through, so the wall shows between them.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe image is a durable one in decorative ironwork. Sporting dogs — setters, pointers, spaniels — have been cast into doorstops, bootscrapers, hooks and door knockers since the nineteenth century, and a white setter with black ticking is one of the most reproduced subjects in the whole tradition. The potted tulip on a rail belongs to a different lineage, the painted cottage idiom, and the two together are a decorative combination rather than a documentary one.\u003c\/p\u003e\n  \u003cp\u003eThe making is what dates it, and it is all hand work. The backplate is sand cast, and the reverse still carries the coarse, pitted, irregular texture of the mould with no cleaning up — a face nobody was meant to see, left as it came out. The openwork between the fence rails and beneath the dog's legs is cut clean through, which on a casting means a cored mould: extra pattern work, extra cost, and the first thing dropped when a design is made for volume.\u003c\/p\u003e\n  \u003cp\u003eThe hooks are hand-forged and \u003cstrong\u003ebrazed\u003c\/strong\u003e to the plate at the head of each shank. The joint is the tell: the filler has \u003cem\u003eflowed\u003c\/em\u003e into the junction and pulled itself into a smooth concave fillet that wraps the shank and wets out onto the casting, and it carries the warm golden cast of a brass or bronze rod. An electric weld does none of that — it sits proud of the surface as a raised bead of the same grey metal it joined, and it does not flow.\u003c\/p\u003e\n  \u003cp\u003eBrazing is also the \u003cem\u003ecorrect\u003c\/em\u003e way to do this, which is the point. Cast iron is genuinely difficult to weld: the carbon content is high, the heat-affected zone cools hard and brittle, and the casting cracks. Brazing works below the melting point of the iron, so the base metal is never melted and never stressed — which is why joining steel to cast iron with a brass rod and a torch was standard shop practice for the better part of a century. Somebody who knew what they were doing made this. Taken with the tapered, upset hooks and the punched holes, it is all the work of a torch and an anvil.\u003c\/p\u003e\n  \u003cp\u003eAll of which places it in the great American run of painted cast iron — the tradition that produced figural doorstops, bootscrapers, door knockers and hook racks in volume from the 1920s through the 1950s, cast in the foundry and then hand-painted in the paint shop from a master sample. That is exactly what this is: a production object, but a production object made entirely by hand.\u003c\/p\u003e\n  \u003cp\u003eThe dog is worth naming properly. It is an \u003cstrong\u003eEnglish Setter\u003c\/strong\u003e, and the black flecking across the white coat is not decoration or distressing — it is the breed's actual marking, called belton, which a painter was reproducing faithfully. The long feathered tail, the low ears and the high head carried at the point all confirm it. Sporting dogs were the most popular subject in decorative American ironwork, and the setter was the most popular of the sporting dogs.\u003c\/p\u003e\n  \u003cp\u003eStated plainly: there is \u003cstrong\u003eno foundry mark, pattern number, or maker's stamp\u003c\/strong\u003e anywhere on the front, the reverse, or the hooks, so the piece is not attributed. Painted cast iron of this period was frequently unmarked, and the range below rests on the casting, the forge work and the paint rather than on documentation.\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;\"\u003eWall-mounted three-hook coat and key rack\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eSubject\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eEnglish Setter in belton marking walking a rail fence beside a potted tulip\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;\"\u003eSand-cast iron backplate, hand-painted; hand-forged hooks brazed on\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eConstruction\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eThree hand-forged hooks, tapered and upset at the tip, \u003cstrong\u003ebrazed\u003c\/strong\u003e to the reverse of the cast plate with flowed brass fillets at each shank head; openwork cut clean through at the fence rails and the dog's legs from a cored mould; five fixing holes, punched rather than drilled — two through the plate, one through each hook shank\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 foundry mark, pattern number, or maker's stamp is present.\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. 1925–1955. American painted cast iron; unattributed.\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 solid. The casting is sound with no cracks or losses, all three hooks are firmly attached and true, and every screw hole is clear. The hand-painted decoration is bright and complete, with the dog, tulip and pot all fully painted. There is honest paint wear with scattered losses down to bare metal at the high points and edges, exactly where hands, coats and years have rubbed, and white overspill shows around the outline on the reverse from the piece having been painted face up. \u003cstrong\u003eThe paint is original and has not been touched up or restored.\u003c\/strong\u003e No structural rust, no repairs, nothing loose. 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\u003eHooks are the one piece of hardware in a house that has to work every single day, and most of what is sold is a strip of brushed metal that nobody looks at twice. This one does the job and gives you something to look at while it does it — three sturdy iron hooks that will take a heavy winter coat, a dog lead, a bag, a hat, or a set of keys, under a small painted scene that reads from across a room.\u003c\/p\u003e\n  \u003cp\u003eIt goes where the hooks are needed rather than where art goes: inside a back door, in a mudroom or entry, in a bathroom for towels, beside a kitchen door for aprons and tea towels, in a child's room, or in the corner of a hallway that has always needed something.\u003c\/p\u003e\n  \u003cp\u003eIt is also an unusually specific gift. Anybody who has an English Setter, or any belton-marked dog, will recognise theirs in it — the painter got the markings right — and a small useful object aimed exactly at somebody is worth more than a large vague one.\u003c\/p\u003e\n  \u003cp\u003eAnd for a collector, the thing that matters here is that the paint is original. Painted cast iron of this period is very commonly found stripped, repainted, or freshly “restored,” and every one of those is worth a fraction of an untouched example. This one has its own paint, worn where it should be worn.\u003c\/p\u003e\n  \u003cp\u003eA note on installation and care. \u003cstrong\u003eFix it properly.\u003c\/strong\u003e Cast iron is heavy before you hang anything on it, and a loaded coat hook pulls down and out on the fixings — use all five screw holes, into studs or into proper wall anchors rated for the load, not into bare plasterboard. Keep it dry: this is iron with a painted surface, and any chip that reaches bare metal will rust if it sits in a damp bathroom or an unheated porch. Dust it with a dry cloth or a soft brush, working into the openwork where dust collects. Do not wash it, do not use any abrasive or metal polish, and do not touch up the paint — hand-painted cast iron is worth more with honest wear than with a fresh coat over it, and matching that white is harder than it looks. If a chip does go bare in a damp room, a spot of clear wax over the exposed metal will stop it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48030734614633,"sku":"VE-0662","price":192.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/1C83E677-2DFC-415F-AF5A-D28528514B9B.jpg?v=1789016904"},{"product_id":"gilt-wire-serving-tray-with-twisted-rope-rail-and-braided-openwork-gallery-italian-manner-c-1960-1990","title":"Gilt Wire Serving Tray with Twisted Rope Rail and Braided Openwork Gallery, Italian Manner, c. 1960–1990","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA shallow rectangular tray built entirely from wire, gold-toned and bright. The floor is a rank of straight parallel rods running the length of the tray, and the sides rise from them at a slight outward flare so the whole thing reads as a basket rather than a plate.\u003c\/p\u003e\n  \u003cp\u003eThe gallery is where the work is. Around all four sides runs a band of \u003cstrong\u003einterlaced wire loops\u003c\/strong\u003e — a continuous braid where each element passes over its neighbour and under the next, forming a chain of open figure-eights. It is a woven pattern executed in metal, and it is what makes the piece read as basketry from a distance.\u003c\/p\u003e\n  \u003cp\u003eCapping it, along the entire top edge, is a \u003cstrong\u003etwisted rope rail\u003c\/strong\u003e: two heavier wires wound around one another into a spiral that catches light down its whole length and gives the rim a finished, corded weight.\u003c\/p\u003e\n  \u003cp\u003eEverything is joined at the crossings and the corners, and the tray stands on short feet formed where the frame wires turn under.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe vocabulary is Italian. Twisted rope edging and braided openwork galleries in gilt metal belong to the Florentine and wider Italian decorative tradition, and they arrived in American homes in quantity through the mid-century import trade, when gilt-metal tableware, mirrors, and vanity pieces were being brought in by the container-load for the giftware market.\u003c\/p\u003e\n  \u003cp\u003eThe forms borrow from something older. A rope moulding is a stone and woodcarving motif that runs back through the Renaissance and the Romanesque, and translating it into twisted wire is a way of getting that ornament at a fraction of the cost. The interlaced gallery does the same trick with woven cane and basketry.\u003c\/p\u003e\n  \u003cp\u003eThis example is \u003cstrong\u003eunmarked\u003c\/strong\u003e — no maker's stamp, country-of-origin mark, or importer label anywhere on the frame, the gallery, or the underside. That is entirely normal for the category; these were sold on a paper label or a box that did not survive, and we are not going to attribute it on style.\u003c\/p\u003e\n  \u003cp\u003eThe dating rests on the construction: machine-drawn wire, joined at the crossings, with a bright gold-toned plated finish over a base metal. That places it squarely in the later twentieth-century decorative import trade, given here as \u003cstrong\u003ec. 1960–1990\u003c\/strong\u003e, and it is offered as a decorative tray 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;\"\u003eRectangular wire serving or vanity tray\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;\"\u003eSlatted wire floor with flared sides, a braided interlaced openwork gallery to all four sides, and a twisted rope rail to the top edge; short turned-under feet\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;\"\u003eGold-toned plated wire over base metal\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;\"\u003eIn the Italian gilt-wire manner. Unmarked and unattributed.\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\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. Offered as a decorative tray, not as 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. Structurally sound and square, sitting flat without rock. Every joint is tight, no wires are bent, sprung, or missing, and the braided gallery is complete and even the whole way round. The gold-toned finish is bright and largely unworn, with light dulling at the rim and a few small surface marks where it has been handled. No corrosion, no flaking, 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\u003eOpen wire does something a solid tray cannot: it holds things without hiding the surface underneath, so it organises a table or a counter without turning into a block. Whatever is in it stays visible and stays contained.\u003c\/p\u003e\n  \u003cp\u003eIt is the right object for the places that always need corralling — perfume and creams on a dresser, soap and hand cream at a sink, mail and keys in an entry, rolled napkins and cutlery on a buffet, condiments on a kitchen island, bread or fruit on a table. On a bar cart it takes bottles and a jigger and makes the whole thing look arranged.\u003c\/p\u003e\n  \u003cp\u003eAnd gold reads warm against almost everything: marble, glass, dark wood, cream paint, black metal. It is a small amount of shine, in a shape that keeps working long after the shine stops being the point.\u003c\/p\u003e\n  \u003cp\u003eA note on care. This is a \u003cstrong\u003eplated finish, and plating is thin\u003c\/strong\u003e — the single fastest way to ruin it is a metal polish, a cream cleaner, or an abrasive pad, all of which will cut straight through to the base metal and leave a permanent grey patch. Never polish it. Dust it with a dry soft cloth or a soft brush worked into the braid, where dust collects and where a cloth will not reach. If it needs more, use a barely damp cloth and dry it at once. Keep it out of the dishwasher entirely, and do not soak it — water sitting in the crossings and under the joints is what starts corrosion beneath the plating. For food, line it with a napkin, a cloth, or paper rather than setting anything directly on the wire.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48030892425321,"sku":"VE-0675","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/28E10892-5B21-4372-8EBF-23A3223FB906.jpg?v=1789021119"},{"product_id":"serpentine-front-four-drawer-chest-in-figured-curly-maple-bowed-top-over-cabriole-legs-with-carved-paw-feet-american-c-1890-1915","title":"Serpentine-Front Four-Drawer Chest in Figured Curly Maple, Bowed Top over Cabriole Legs with Carved Paw Feet, American, c. 1890–1915","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA four-drawer chest that refuses to sit still. The whole front is \u003cstrong\u003eserpentine\u003c\/strong\u003e — every drawer swells forward at the centre and draws back at the ends in one continuous S-curve, and the top follows it, bowing out over the case with a moulded and shaped edge that repeats the same line. Nothing about the silhouette is straight.\u003c\/p\u003e\n  \u003cp\u003eTwo short drawers over two long ones, each front carrying a fine cock-beaded lip. Below the bottom drawer a shaped apron sweeps down and out into \u003cstrong\u003ecabriole legs\u003c\/strong\u003e that curve at the knee, taper, and finish in carved paw feet.\u003c\/p\u003e\n  \u003cp\u003eThe timber is the reason to stop. It is maple with the figure fully open — a rippling, tiger-striped curl running horizontally across every drawer front and washing over the top in broad flame-like bands, catching light and shifting as you move past it. The colour is a warm honey-gold that seems lit from inside.\u003c\/p\u003e\n  \u003cp\u003eThe hardware is cast brass in the batwing pattern: a shaped pierced backplate with foliate wings and a swing bail, four to the long drawers and one to each short. Both long drawers carry brass-lined keyholes.\u003c\/p\u003e\n  \u003cp\u003ePull a drawer and the case shows its manners. Solid wood throughout, a mortised half-moon lock plate let into the top edge of the drawer front, and brass strike plates cut cleanly into the carcase. A circular maker's brand is impressed into the timber inside the case.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe construction dates it, and it is all of a piece.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe serpentine front is cut from the solid, not bent.\u003c\/strong\u003e Each drawer front was sawn and shaped from thick stock so the curve runs through the whole thickness of the board — you can see it in the depth of the drawer front at the ends of an open drawer. That is expensive work: it wastes a great deal of timber, and it wastes \u003cem\u003efigured\u003c\/em\u003e timber, which is worse. It also means the curl had to be matched across four separate drawer fronts so the figure reads as one continuous surface.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe locks are mortised, not surface-screwed.\u003c\/strong\u003e Each long drawer has a half-moon brass lock plate let flush into the top edge of the front, with its strike plate cut into the carcase to match. Cutting a mortise for a lock and its keeper is cabinet work; screwing a lock to the back of a drawer front is not.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eAnd there is a maker's brand.\u003c\/strong\u003e A circular mark is impressed into the timber inside the case — a factory brand rather than a paper label, which is why it has survived. It is not legible enough here to attribute a name, and \u003cstrong\u003ewe are not going to guess at one\u003c\/strong\u003e, but it establishes that this came out of a real furniture works with a mark it was willing to put on the wood.\u003c\/p\u003e\n  \u003cp\u003eThe vocabulary is American Colonial Revival at its confident end: serpentine case, bowed top, cabriole leg, carved paw foot, batwing brass. Those elements were being built together in quantity by the better American factories from about 1890 into the First World War, and the use of solid figured maple rather than oak or a mahogany veneer places this at the upper end of that production. The range given is \u003cstrong\u003ec. 1890–1915\u003c\/strong\u003e, and it rests on the shaping, the locks and the brand rather than on the style alone.\u003c\/p\u003e\n  \u003cp\u003eOne note on the timber, because the trade uses the words loosely. The rippling horizontal stripe here is \u003cem\u003ecurly\u003c\/em\u003e or \u003cem\u003etiger\u003c\/em\u003e maple — a wave in the grain that runs across the board and throws light back at different angles along its length. It is a natural anomaly, it cannot be produced on purpose, and a tree that has it is worth several times one that does not. That is why it was reserved for show surfaces.\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;\"\u003eFour-drawer chest of drawers\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, factory-made. An impressed circular maker's brand is present inside the case but is not legible enough to attribute; the chest is offered unattributed.\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;\"\u003eSerpentine case with a bowed and moulded shaped top over two short drawers and two long drawers, each cock-beaded; shaped apron on cabriole legs with carved paw feet\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;\"\u003eSolid figured curly (tiger) maple with strongly rippled horizontal curl to the top and all four drawer fronts\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eConstruction\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eDrawer fronts sawn and shaped from solid stock rather than bent; half-moon brass locks mortised flush into the top edge of both long drawers with matching brass strike plates let into the carcase; solid wood drawer bottoms\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;\"\u003eCast brass batwing bail pulls on pierced foliate backplates; brass-lined keyholes to both long drawers\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;\"\u003eAn impressed circular maker's brand inside the case\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. 1890–1915\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 structurally sound. The case stands square and firm, all four drawers run and close correctly on their runners, and every pull, backplate and escutcheon is present. The cabriole legs and carved paw feet are solid with no breaks, splits, or repairs at the knee or ankle — the first place a chest of this form fails. The figured surfaces are bright and the finish is warm and even. Expect honest handling wear: light surface marks and scattered small nicks to the top and case edges, a small chip to the moulding at one side, minor scuffing to the feet, and normal interior staining and marking to the drawer bottoms. Keys are not present. 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\u003eFigured maple is the argument, and it is not a subtle one. Most antique case furniture is brown. This is honey-gold with a rippling stripe that moves as you cross the room, and it will be the brightest wooden object in almost any space you put it. Against white or plaster walls it glows; against dark paint it does something better still.\u003c\/p\u003e\n  \u003cp\u003eThe serpentine front is the second argument, and it is what separates this from the flat-fronted chests that fill every mall booth in the country. A curved case throws a soft shadow line under every drawer and catches light along each swell, so the piece reads as sculptural rather than as a box with handles.\u003c\/p\u003e\n  \u003cp\u003eIt is a genuinely useful size. It works as a bedroom chest, as an entry piece with lamps and a bowl on top, under a mirror in a hall, as a dining-room server for linens and flatware, or in a living room as a media console with real storage behind it. Four deep drawers and a top that will take weight.\u003c\/p\u003e\n  \u003cp\u003eFor a designer or a dealer it is the thing that is hard to source: a genuine period case piece with strong figure, intact original hardware and unbroken cabriole legs, at a price that does not require a client conversation.\u003c\/p\u003e\n  \u003cp\u003eA note on care. \u003cstrong\u003eKeep it out of direct sunlight\u003c\/strong\u003e — this is the one that matters here. Maple lightens and yellows unevenly under UV, and figured maple shows the damage badly because the curl fades at a different rate than the ground, which flattens the very thing you bought it for. Keep it off an exterior wall that runs cold and away from a heating vent or radiator, since solid wood this wide moves with humidity and that is what opens joints and lifts a finish. Dust it dry, wipe spills immediately, and feed it once or twice a year with a clear paste wax worked in thinly and buffed off — nothing else. Avoid silicone-based sprays entirely; they build a haze that must be stripped before any wax will take again. Do not line the drawers with adhesive paper, which will pull the surface when it comes off. If a drawer sticks in humid weather, rub a candle stub or a little paraffin along the runners rather than forcing it. Lift from the case rather than the top when moving it, and never drag it — cabriole legs take load straight down and break sideways.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48031296028777,"sku":"VE-0679","price":1750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/EC979954-FF11-4CCD-BAC6-75D4C74FE2D4.jpg?v=1789027454"},{"product_id":"wall-hung-glazed-curio-display-cabinet-with-broken-pediment-and-dentil-cornice-mirrored-back-over-two-shelves-original-hanging-label-american-c-1940-1970","title":"Wall-Hung Glazed Curio Display Cabinet with Broken Pediment and Dentil Cornice, Mirrored Back over Two Shelves, Original Hanging Label, American, c. 1940–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA shallow glazed cabinet built to hang on a wall and show small things properly.\u003c\/p\u003e\n  \u003cp\u003eThe architecture is the point. It is crowned by a \u003cstrong\u003ebroken pediment\u003c\/strong\u003e — two raked cornice sections rising toward the centre and stopping short of meeting, leaving an open gap above a semicircular cut-out in the tympanum board, with a small moulded plinth block standing between them. Each rake carries a full run of \u003cstrong\u003edentil moulding\u003c\/strong\u003e, the row of small square blocks that a classical cornice takes, and terminates in a stepped block.\u003c\/p\u003e\n  \u003cp\u003eBelow it the case front is framed by \u003cstrong\u003ereeded pilasters\u003c\/strong\u003e at both corners, running the full height and finishing on a moulded plinth base that steps out at the bottom.\u003c\/p\u003e\n  \u003cp\u003eThe front is a glazed door. Both sides are glazed as well, so the case is open to light from three directions, and the back is a \u003cstrong\u003emirror\u003c\/strong\u003e — which doubles everything set inside it and throws light forward again.\u003c\/p\u003e\n  \u003cp\u003eInside, two fixed wooden shelves divide the interior into three display registers.\u003c\/p\u003e\n  \u003cp\u003eThe finish is a warm mid-brown with the grain showing through.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThe vocabulary is Georgian, and it arrived here by a long route. A broken pediment over a dentil cornice, flanked by reeded pilasters, is the front elevation of an eighteenth-century English doorcase reduced to the size of a wall cabinet. American furniture makers revived that language wholesale in the Colonial Revival, and it stayed in production for decades because it reads as \u003cem\u003earchitecture\u003c\/em\u003e rather than as furniture, which is exactly what a display case wants to do.\u003c\/p\u003e\n  \u003cp\u003eThe dating does not rest on any of that, because the style gives no floor. It rests on the back of the case.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe back panel is hardboard.\u003c\/strong\u003e Masonite — the wet-process fibreboard made by exploding wood chips with high-pressure steam and pressing the fibres back together, held by nothing but the lignin already in the pulp — was invented by William H. Mason in \u003cstrong\u003e1924\u003c\/strong\u003e. A cabinet backed in it cannot have been made before that, and in practice cabinets like this were not being backed in hardboard until it was cheap and everywhere, which puts the real floor a good deal later.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe label was written on a typewriter.\u003c\/strong\u003e Still fixed to the back is the original printed sheet headed CABINET HANGING INSTRUCTIONS, and it was not typeset — the letterforms are struck, the underlined headings were made by backspacing and running the underscore key, and the spacing drifts. That is a manual typewriter original, reproduced in quantity for the box, and it belongs to the middle of the twentieth century rather than to either end of it.\u003c\/p\u003e\n  \u003cp\u003eWhat the label says is the interesting part, because it tells you who this was sold to.\u003c\/p\u003e\n  \u003cp\u003eIt has two headings. The first is \u003cstrong\u003eSTORE DISPLAY\u003c\/strong\u003e, explaining that strap hooks are fitted to the rear for easy temporary hanging for store display purposes, with a warning not to put heavy items in the cabinet when hanging it that way. The second is \u003cstrong\u003eHOME HANGING\u003c\/strong\u003e, giving screws for mounting to wall studs and noting that a strip inside the top of the cabinet carries two guide holes sixteen inches apart — standard American stud spacing.\u003c\/p\u003e\n  \u003cp\u003eSo this was manufactured for two customers out of the same box: the shopkeeper who needed a wall-mounted case for small valuable stock, and the household that wanted somewhere to put a collection. It is a retail fixture and a domestic curio cabinet, and it always was both.\u003c\/p\u003e\n  \u003cp\u003eA \u003cstrong\u003estock number is written on the hardboard in grease pencil\u003c\/strong\u003e, in the way a warehouse marks a carton.\u003c\/p\u003e\n  \u003cp\u003eThere is \u003cstrong\u003eno maker's name, brand or foundry stamp\u003c\/strong\u003e anywhere on the cabinet or on the label — the sheet identifies itself only as coming from “the manufacturer” — and the cabinet is offered \u003cstrong\u003eunattributed\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003cp\u003eTaken together, the hardboard back, the typewritten label and the machine-run mouldings put it at \u003cstrong\u003ec. 1940–1970\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;\"\u003eWall-hung glazed display cabinet — retail display case or domestic curio cabinet\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, factory-made. Unattributed — no maker's name appears on the cabinet or on its label.\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;\"\u003eBroken pediment with dentil-moulded raked cornices, stepped block terminals and a central moulded plinth; reeded pilasters to both front corners; moulded stepped plinth base\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eGlazing\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHinged glazed front door with glazed panels to both sides; mirrored back panel\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eInterior\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eTwo fixed wooden shelves creating three display registers\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;\"\u003eStained hardwood with applied machine-run mouldings; hardboard back panel; glass and mirror\u003c\/td\u003e\n\u003c\/tr\u003e\n      \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMounting\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eTwo strap hooks to the rear, plus an interior top strip drilled with two guide holes at sixteen-inch centres for screw mounting to wall studs. A twisted wire has been strung between the strap hooks by a previous owner; see the care note.\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;\"\u003eThe original typewritten CABINET HANGING INSTRUCTIONS label to the back, and a stock number in grease pencil on the hardboard. No maker's name.\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. 1940–1970. Dated on the hardboard back panel, the typewritten label and the machine-run mouldings rather than on the Georgian styling.\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 and structurally sound. The case is square and rigid, the pediment is tight to the top with no separation at the mitres, both pilasters and the plinth base are intact, and all mouldings are present with no losses to the dentil runs. \u003cstrong\u003eAll glazing is intact\u003c\/strong\u003e — front, both sides and the mirrored back are unbroken and uncracked, and the mirror is bright with only light edge spotting. Both shelves are firm. Expect honest wear to the finish: scattered scuffs and pale abraded patches to the top rail, the pediment board and one side, small nicks at the moulding edges, and a filled brad hole at one cornice mitre. \u003cstrong\u003eThe original paper label is present but torn\u003c\/strong\u003e, with a section of text lost where the paper has peeled. The central plinth carries no finial. The hardboard back shows surface staining and the grease-pencil stock number. 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\u003eThis cabinet solves a problem that shops and collectors have in common: small valuable things need to be seen, kept together, kept clean, and kept out of reach, and a shelf does none of that.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eFor a shop, it is a fixture that costs no floor space.\u003c\/strong\u003e It hangs at eye level behind a counter or beside a register and holds the stock that is too small to merchandise on a table and too good to leave loose — jewellery, pocket knives, watches, pens, thimbles, small silver, perfume, coins, tins. Glass on three faces means it reads from an angle as well as head-on, and the mirrored back means a customer sees the reverse of every piece without anything being handled. The maker built it for exactly this and printed the instructions to prove it.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eAt home it does the same job for a collection.\u003c\/strong\u003e Miniatures, matchbox cars, shot glasses, figurines, arrowheads, fossils, medals, a set of teacups, an heirloom or two — anything that looks like clutter loose on a shelf becomes a considered display the moment it is behind glass and framed by architecture.\u003c\/p\u003e\n  \u003cp\u003eAnd it is genuinely handsome empty. The broken pediment and dentil cornice give a wall the kind of vertical accent a picture cannot: it projects, it casts a shadow line, and it reads as a piece of a building. Hung in a hallway, a study, a dining room, above a dresser, or in a shop's own dead wall space, it earns its place before anything goes inside it.\u003c\/p\u003e\n  \u003cp\u003eA note on hanging, and this one matters. \u003cstrong\u003eDo not hang this cabinet by the wire currently strung across the back.\u003c\/strong\u003e The manufacturer's own label is explicit that picture wire must not be used and that each strap hook has to be supported separately, and the wire was added later by someone who did not read it. For permanent hanging, use the two guide holes in the strip inside the top of the cabinet and drive screws into wall studs at sixteen-inch centres. A loaded glass cabinet coming off a wall is not a small failure.\u003c\/p\u003e\n  \u003cp\u003eFor care, dust the glass with a cloth sprayed away from the cabinet rather than spraying the glass directly — liquid running down into the joints will lift the finish and can get behind the mirror silvering. Use no ammonia cleaner anywhere near the mirror for the same reason. Wipe the wood dry and feed it once or twice a year with a clear paste wax buffed off thinly; nothing else, and no silicone spray. Keep it out of direct sunlight and off a bathroom wall, since the mirror backing and the hardboard both suffer in standing humidity. Carry it by the case, never by the pediment, which is applied rather than integral.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48035289759849,"sku":"VE-0684","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_38392_a4d620e3-b40b-406d-8dd5-4936955d32ad.jpg?v=1789093383"},{"product_id":"rectangular-wire-basket-with-pressed-sheet-metal-fretwork-end-panels-twisted-rope-wire-rims-verdigris-patina-c-1950-1990","title":"Rectangular Wire Basket with Pressed Sheet-Metal Fretwork End Panels, Twisted Rope Wire Rims, Verdigris Patina, c. 1900–1925","description":"  \u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA rectangular wire basket, open-topped, built from three different kinds of metalwork in one object.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003erims are twisted rope wire\u003c\/strong\u003e — two strands wound around each other into a spiral cable — and there are two of them, one framing the mouth and a second running around the base, so the basket is braced at both ends of its height rather than only at the top.\u003c\/p\u003e\n\u003cp\u003eBetween them run \u003cstrong\u003eplain vertical wire uprights\u003c\/strong\u003e, and the floor is laid in \u003cstrong\u003eparallel wire slats\u003c\/strong\u003e, spaced so the basket drains and breathes.\u003c\/p\u003e\n\u003cp\u003eThe two ends are where it stops being a plain basket. Set into each is a \u003cstrong\u003epanel of pierced sheet metal fretwork\u003c\/strong\u003e, cut through in a repeating pattern of \u003cstrong\u003eturned balusters standing under a run of arches\u003c\/strong\u003e, the whole panel closed top and bottom by a narrow ribbed border.\u003c\/p\u003e\n\u003cp\u003eThe finish is silver-toned, and it has aged: the raised surfaces have gone soft and grey while \u003cstrong\u003egreen verdigris has settled into the recesses\u003c\/strong\u003e of the fretwork and the twists of the rope wire.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThe fretwork panels are pressed, not cast and not hand-pierced, and that is the single most useful thing about this basket.\u003c\/strong\u003e Look at the edges of the cut-outs and they are clean, square and identical, and the ribbed borders are struck in relief rather than applied. That is a die working on thin sheet metal: the panel was stamped out in one hit.\u003c\/p\u003e\n\u003cp\u003eWhy it matters is that it dates the panel to the machine that made it. Stamping presses were turning out pierced sheet ornament of exactly this kind from the 1870s onward, and pressed fretwork became the standard decorative treatment on household wireware for the next half-century — jardinière stands, bottle carriers, cutlery trays, letter racks. It is a period technology, not a modern one. What the pressing rules out is hand-pierced tinwork, where the chisel walks visibly along the line and no two openings match, and casting, which leaves thickness, draft and a rough reverse.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe baluster-under-arcade pattern is borrowed, and knowingly so.\u003c\/strong\u003e A row of turned balusters beneath a run of arches is architectural vocabulary — a balustrade, the sort that edges a terrace or a stair — and it has been a stock decorative motif on metalwork, garden furniture and giftware for well over a century. Its presence tells you what the basket was styled to evoke. It does not date it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe verdigris is real and it is informative.\u003c\/strong\u003e Green corrosion of this kind forms on copper, and it means there is copper in the finish — a plated or washed coating over a steel or iron core — slowly oxidising in air and moisture. It takes years to build up the way it has here, settling into the low points where it is not rubbed away by handling. It is also the reason the piece has not simply gone to red rust: the copper layer has been doing its job.\u003c\/p\u003e\n\u003cp\u003eBaskets of this construction were made for the household and garden trade in very large numbers, on both sides of the Atlantic, and were sold for everything from bread and fruit to letters, cutlery and plants. The \u003cstrong\u003ebasket carries no maker's stamp, no impressed mark, no country-of-origin stamp and no surviving label\u003c\/strong\u003e anywhere on the frame, the panels or the base, and is offered \u003cstrong\u003eunattributed and of unstated origin\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eDated on the construction — pressed sheet panels of the period stamping trade, machine-twisted rope wire, and a copper-bearing plated finish rather than the nickel, chrome or lacquered steel that replaced it: \u003cstrong\u003ec. 1900–1925\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;\"\u003eRectangular open wire basket with decorative fretwork end panels\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eConstruction\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eTwisted rope wire rims to both the mouth and the base, plain wire uprights, and an open slatted wire floor\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;\"\u003eTwo pressed sheet-metal panels, pierced with a repeating baluster-under-arcade pattern within struck ribbed borders, set into the short ends\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;\"\u003eSteel or iron wire and sheet with a silver-toned copper-bearing plated finish\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ePatina\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eSoft grey on the raised surfaces with green verdigris settled into the fretwork recesses and the wire twists — genuine age, not applied\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 maker's stamp, country-of-origin mark or label. Offered unattributed.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eEra\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003ec. 1900–1925. Dated on the pressed sheet fretwork, the machine-twisted rope wire and the copper-bearing plated finish beneath the verdigris; the baluster motif is older still and carries no date of its own.\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 structurally sound. The frame is rigid and sits flat with no racking or wobble, both rope wire rims are continuous and tight, every upright and floor slat is present and attached, and both fretwork panels are complete with no torn, bent-back or missing sections. \u003cstrong\u003eExpect the full grey-and-verdigris patina throughout\u003c\/strong\u003e, which is the character of the piece — along with light finish loss on the high points and handled edges, small scattered darkening, and a few points of surface oxidation. No structural rust, no perforation, no breaks, no repairs and no resoldered joints. 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\u003eAn open basket is one of the genuinely useful objects, because it makes a pile of things look deliberate.\u003c\/p\u003e\n\u003cp\u003eIn a kitchen it takes onions, garlic and shallots — the slatted floor and open ends are exactly what root vegetables want, which is air — or bread under a cloth, or lemons, or the tea towels. On a hall table it swallows post, keys, sunglasses and the things that otherwise colonise a surface. In a bathroom it holds rolled towels or soaps. Beside a chair it takes magazines.\u003c\/p\u003e\n\u003cp\u003eIt is also a good planter if you line it. Drop in moss, a coir liner or a shallow tray and it will hold pots of herbs, paperwhites, or a low arrangement, and the drainage takes care of itself.\u003c\/p\u003e\n\u003cp\u003eThe reason to choose this one over a plain wire basket is the two end panels. Silver-grey metal with green sunk into the pattern is a quiet, complicated colour, and it does something that new metalware cannot: from across a room it reads as a plain basket, and up close it turns out to have architecture cut into it.\u003c\/p\u003e\n\u003cp\u003eA note on care, because the patina is the value and it is easy to destroy. \u003cstrong\u003eDo not polish it, do not use metal polish or a wire brush, and do not run it through a dishwasher.\u003c\/strong\u003e Any of those will strip the verdigris out of the recesses in one pass and leave a bright, characterless frame that cannot be undone.\u003c\/p\u003e\n\u003cp\u003eDust it with a dry brush — an old paintbrush gets into the fretwork better than a cloth. If it needs more, wipe it with a barely damp cloth and dry it immediately and thoroughly, working the water out of the wire twists where it likes to sit.\u003c\/p\u003e\n\u003cp\u003eKeep it out of standing water and off wet surfaces, since the core beneath the plating is steel and will rust where the finish has worn through. If you use it for produce or plants, put a liner or a tray in first, and lift it off furniture with felt pads so the base wire does not mark a polished top.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48039810007145,"sku":"VE-0700","price":84.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/7FAE906E-3C99-41B6-BACA-80805A5F6BB9.jpg?v=1789118258"},{"product_id":"padded-garment-hanger-covered-in-woven-gold-damask-metallic-braid-trim-and-brass-toned-ball-tipped-hook-c-1940-1980","title":"Padded Garment Hanger Covered in Woven Gold Damask, Metallic Braid Trim and Brass-Toned Ball-Tipped Hook, c. 1925–1945","description":"  \u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA padded coat hanger, gently curved, wrapped end to end in a \u003cstrong\u003egold damask\u003c\/strong\u003e the colour of old champagne.\u003c\/p\u003e\n\u003cp\u003eThe fabric is \u003cstrong\u003ewoven, not printed\u003c\/strong\u003e. Hold it to the light and the pattern shifts — the figures come up matt against a lustrous ground and then reverse as you turn it, because the design is built into the cloth by the direction of the threads rather than laid on top of it.\u003c\/p\u003e\n\u003cp\u003eThe padding is soft and even the whole length, tapering toward each end, with the fabric drawn up and gathered neatly where it meets the shoulder.\u003c\/p\u003e\n\u003cp\u003eRising from the centre is a \u003cstrong\u003ebrass-toned wire hook finished with a small ball at the tip\u003c\/strong\u003e, and where it enters the padding there is a wrapped band of \u003cstrong\u003ewoven metallic gold braid\u003c\/strong\u003e, closing the join and hiding the stitching.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThe weave is the point, so it is worth being exact about it.\u003c\/strong\u003e Damask is not a print and not an embroidery. The pattern is created on the loom by contrasting two weave structures in the same cloth: the figures are worked in one binding while the ground is a satin of long floats — warp threads, as Britannica describes it, passing over anywhere from two to seven or even nine picks — so that figure and ground catch light differently. Turn the cloth and the effect inverts. That is why damask reads as patterned from any angle and never wears its design off, which a printed fabric eventually does.\u003c\/p\u003e\n\u003cp\u003eThe name comes from \u003cstrong\u003eDamascus\u003c\/strong\u003e, where fine patterned silks were woven in the European Middle Ages; Crusaders carried the cloth back into Europe in the eleventh century. It was silk to begin with, later any fibre, and by the mid-thirteenth century linen damask was established in the flax country of Courtrai and Haarlem. Handling it once meant a drawloom and a second worker lifting threads by hand; the Jacquard loom mechanised that, and power weaving from around 1835 made width and quantity possible.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePadded hangers exist for a specific reason.\u003c\/strong\u003e The wire coat hanger is a late-nineteenth and early-twentieth-century object — O. A. North is generally credited with the modern wire hanger around 1860, and in 1903 Albert Parkhouse, working at the Timberlake Wire and Novelty Company in Jackson, Michigan, bent one up because every coat hook in the building was taken. What that solved for coats, it did badly for everything else: bare wire creates a hard point at the shoulder, and on silk, knitwear, satin and lingerie it leaves a bump, a rust stain or a tear. Padding it and covering the padding in a good cloth fixed all three at once, and covered hangers became a standard part of a well-kept wardrobe — made commercially, and made at home.\u003c\/p\u003e\n\u003cp\u003eThis one shows the hallmarks of careful making: the padding is even rather than lumpy, the covering is drawn and gathered symmetrically, and the braid band at the hook is a finishing touch rather than a necessity.\u003c\/p\u003e\n\u003cp\u003eIt carries \u003cstrong\u003eno woven label, no printed tag, no maker's mark on the hook and no remaining stitched label\u003c\/strong\u003e of any kind, and is offered \u003cstrong\u003eunattributed\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eDated on the hardware and the materials. A turned ball terminal on the hook and real woven metallic braid belong to the boudoir hanger of the interwar decades; the post-war padded hanger carries a plain bent hook and a printed synthetic cover. Dated on those, with the hand-gathered covering: \u003cstrong\u003ec. 1925–1945\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;\"\u003ePadded garment hanger, fabric covered\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCovering\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eGold damask — \u003cstrong\u003ewoven, not printed\u003c\/strong\u003e. The pattern is formed by contrasting weave structures, matt figures against a lustrous satin ground, and reverses as the cloth turns to the light.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eTrim\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eA wrapped band of woven metallic gold braid at the base of the hook\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;\"\u003eBrass-toned wire hook with a small ball terminal at the tip\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eConstruction\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eCurved shaped core with even soft padding tapering to each end, the covering drawn and gathered at the shoulders\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 woven or printed label and no mark to the hook. Offered unattributed.\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. 1925–1945. Dated on the ball-tipped brass-toned hook, the woven metallic braid and the hand-gathered covering — interwar construction, replaced after the war by plain hooks and printed synthetics.\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, clean and fully usable. The core is sound and the curve is true, the padding is intact and evenly distributed with no lumping or collapse, all seams and gathers are secure, the braid band is complete and firmly attached, and the hook is straight, tight in the body and free of rust. \u003cstrong\u003eExpect fading and light wear along the top edge of the damask\u003c\/strong\u003e, where the cloth has taken the most light and handling, along with gentle overall softening of the gold and faint surface soiling consistent with closet storage. No holes, no tears, no open seams, no moth damage, no odour and 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\u003eSome objects are worth owning because of what they protect, and a padded hanger is one of them.\u003c\/p\u003e\n\u003cp\u003eA wire or thin wooden hanger concentrates the whole weight of a garment onto a narrow line at the shoulder, and over a season that becomes a permanent bump in a knit, a crease in a silk blouse or a stretched strap on a slip. A wide padded shoulder spreads the load and the problem goes away. Put this under the things that deserve it: an evening dress, a silk shirt, a cashmere cardigan, a christening gown, a jacket you want to keep.\u003c\/p\u003e\n\u003cp\u003eIt also earns a visible place. Most hangers are meant to be hidden; a gold damask one on the back of a wardrobe door, on a dressing-room rail or on a hook in a bedroom is an object rather than hardware, and it dresses whatever hangs on it.\u003c\/p\u003e\n\u003cp\u003eThe damask is the reason to take this one. Woven pattern has a depth that a printed one never manages — it changes as you move past it, catching light on the figures and losing it again — and it is the same technique, on the same principle, that has been used on fine cloth since long before anyone thought of hanging clothes on wire.\u003c\/p\u003e\n\u003cp\u003eIt is a good, specific gift as well: paired with a silk scarf or a nightdress, given to someone setting up a first proper wardrobe, or used as the hanger a wedding dress goes home on.\u003c\/p\u003e\n\u003cp\u003eA note on care. \u003cstrong\u003eDo not wash it, do not soak it and never put it in a machine.\u003c\/strong\u003e The cover is stitched over a padded core that will not dry through, the metallic braid will tarnish and stiffen in water, and a damask weave loses its lustre permanently once it has been wetted and dried flat.\u003c\/p\u003e\n\u003cp\u003eSpot clean only, with a barely damp cloth and the lightest touch, and let it dry in open air. Use no bleach, no solvent and no upholstery foam.\u003c\/p\u003e\n\u003cp\u003eKeep it out of direct sunlight, which is what has faded the top edge already and will keep going, and store it in a closed wardrobe with a cedar block or a lavender sachet nearby rather than mothballs, which leave an odour in padding that is almost impossible to get out. Lift it off the rail rather than dragging it, so the braid band is not worked loose.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48039810105449,"sku":"VE-0701","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/C0AE43FB-797B-43B0-87CD-F8F3E372D5F6_ec3694ef-063d-4176-81eb-3318e0284b5d.jpg?v=1789118247"},{"product_id":"portuguese-blue-and-white-faience-wall-bracket-shell-fluted-with-acanthus-collar-and-cobalt-drop-marked-pedrangol-c-1975-1995","title":"Portuguese Blue and White Faience Wall Bracket, Shell-Fluted with Acanthus Collar and Cobalt Drop, Marked Pedrangol, c. 1975–1995","description":"  \u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA ceramic wall bracket — a small shelf that hangs on the wall to carry something else — hand-painted in cobalt blue on a warm white ground.\u003c\/p\u003e\n\u003cp\u003eThe body is modelled as a \u003cstrong\u003efluted shell\u003c\/strong\u003e, swelling out from the wall and narrowing to a point, with the flutes running down the underside like the ribs of a scallop. It finishes in a \u003cstrong\u003edeep cobalt teardrop finial\u003c\/strong\u003e, glazed so heavily that the blue pools almost black.\u003c\/p\u003e\n\u003cp\u003eAbove the shell sits a \u003cstrong\u003eseparate collar\u003c\/strong\u003e, a shallow open well with an outward-rolled rim, painted all round with \u003cstrong\u003erunning acanthus scrollwork\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe main face carries a \u003cstrong\u003espray of flowers\u003c\/strong\u003e in the Portuguese manner: broad open blossoms with radiating stamens, painted in washes of pale blue and then drawn over in a darker line, with feathered leaves trailing away beneath them.\u003c\/p\u003e\n\u003cp\u003eThe back is flat, glazed white, ribbed across the middle for strength, and pierced with \u003cstrong\u003etwo moulded keyhole slots\u003c\/strong\u003e ready for screws. A printed label reads \u003cstrong\u003ePEDRANGOL — MADE IN PORTUGAL\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003ePortuguese blue and white is not an imitation of Delft. It is a sibling, and it has the better claim.\u003c\/strong\u003e Portugal's ships were the ones carrying Chinese blue-and-white porcelain back to Europe on the India route, and Portuguese potters were among the first Europeans with the real thing in front of them to copy. By the seventeenth century blue on white had taken over Portuguese ceramics; by the early eighteenth it produced the \u003cem\u003eGolden Age of the Azulejo\u003c\/em\u003e, when demand from Portugal and from Brazil turned tile-making into an industry.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe technique is tin glaze, and it is unforgiving.\u003c\/strong\u003e An opaque white glaze is laid over the fired body and the cobalt is painted straight onto that raw, powdery surface before the second firing. The glaze drinks the pigment instantly. There is no wiping back, no correction and no second attempt — every stroke is final, which is why the brushwork on good faience has the speed it does.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYou can see that speed on this piece.\u003c\/strong\u003e The flower petals are laid in as broad washes and then outlined over the top in a darker blue; the stamens are single flicks radiating from the centre; the acanthus on the collar is one continuous running stroke with the loaded brush, thinning as the colour runs out and reloading visibly at intervals. A transfer print has none of that variation — it is even everywhere, and it does not thin.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe form is architectural.\u003c\/strong\u003e A wall bracket of this type descends from the carved and gilded console brackets that carried busts, clocks, vases and saints' figures in European interiors, translated here into glazed earthenware. The two-part design does a specific job: the shell is the visible ornament, and the collar above it is the actual seat, with a rolled rim to stop whatever stands in it from walking off the front.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDated on the label and the finish.\u003c\/strong\u003e The mark is a \u003cstrong\u003emodern printed self-adhesive label\u003c\/strong\u003e in a clean sans-serif — not a gummed paper mark, not a stamped or painted backstamp — and the country-of-origin wording is import marking for an export market. The glaze is bright and unworn and the piece is press-moulded from a clean mould with sharp flutes. Dated on those: \u003cstrong\u003ec. 1975–1995\u003c\/strong\u003e. \u003cem\u003ePedrangol\u003c\/em\u003e is named on the label; nothing further about the firm is asserted here.\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;\"\u003eCeramic wall bracket — a wall-mounted shelf for a vase, plant, figure, clock or candle\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;\"\u003ePortugal. Labelled \u003cem\u003ePEDRANGOL — MADE IN PORTUGAL\u003c\/em\u003e.\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;\"\u003eFluted shell body tapering to a cobalt teardrop finial, beneath a separate shallow collar with an outward-rolled rim; flat glazed back with a moulded strengthening rib and two keyhole hanging slots\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;\"\u003eHand-painted cobalt on a white tin-type glaze — a flower spray with radiating stamens and feathered foliage to the face, running acanthus scrollwork to the collar, blue line borders. Brushwork, not transfer print.\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;\"\u003eGlazed earthenware\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;\"\u003ePrinted self-adhesive label to the reverse reading \u003cem\u003ePEDRANGOL \/ MADE IN PORTUGAL\u003c\/em\u003e. No painted or impressed backstamp.\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. 1975–1995. Dated on the modern printed import label, the unworn glaze and the clean press-moulding; the blue-and-white idiom itself is three centuries older and carries no date.\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;\"\u003eExcellent. No chips, no cracks, no crazing, no restoration and no repairs; both keyhole slots are clear and undamaged, the rim is complete, the finial is perfect, and the painting is crisp and unfaded throughout. \u003cstrong\u003eExpect the ordinary marks of the kiln rather than of use\u003c\/strong\u003e — slight glaze pooling and a few pinholes in the recesses, minor unevenness along the unglazed edge where the piece met the shelf, and the label showing light handling. It appears to have hung, if at all, only briefly. 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\u003eA wall bracket solves a problem most rooms have, which is a wall with nothing to put anything on.\u003c\/p\u003e\n\u003cp\u003eIt gives a single object its own stage at eye level — a small vase with one stem in it, a trailing plant, a candle, a clock, a bust, a piece of coral, a favourite cup. Put it in a stair turn, a hallway, a narrow strip of wall between doors, either side of a mirror or a window, or above a console where a lamp would crowd the surface. Two of them flanking something make a doorway out of an ordinary wall.\u003c\/p\u003e\n\u003cp\u003eThe colour is the easiest in decoration. Cobalt on white goes with brown furniture, painted furniture, brass, copper, natural linen, dark green and almost any timber, and it is as comfortable in a kitchen as in a bedroom or a hall.\u003c\/p\u003e\n\u003cp\u003eWhat lifts this above a factory piece is that somebody painted it by hand, at speed, with no second chances — you can follow the brush along the acanthus and watch the blue run out.\u003c\/p\u003e\n\u003cp\u003eA note on hanging, and it matters with ceramics. \u003cstrong\u003eFix it into a stud or use proper wall anchors, and hang it low enough that you can see into the collar.\u003c\/strong\u003e Earthenware is heavy and brittle: the two keyhole slots must both take a screw, the screw heads must sit fully into the slots, and the piece should rest flat against the wall rather than on the screw shanks. Keep the load light — this is display, not shelving — and do not stand anything on it that overhangs the front.\u003c\/p\u003e\n\u003cp\u003eA note on care. Dust it with a soft dry brush, which gets into the flutes better than a cloth. Wipe it with a barely damp cloth when it needs more and dry it at once. \u003cstrong\u003eNo dishwasher, no bleach, no abrasive pad and no acid descaler\u003c\/strong\u003e, all of which will dull a glaze and eventually get under it. Keep it out of a frost-prone porch, and lift it off the wall with two hands under the body rather than by the rim.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48040938831977,"sku":"VE-0703","price":133.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_2027.jpg?v=1789130867"},{"product_id":"hartmann-three-piece-graduated-luggage-set-signature-tweed-with-belting-leather-trim-brass-combination-locks-and-engraved-owners-plates-c-1970-1985","title":"Hartmann Three-Piece Graduated Luggage Set, Signature Tweed with Belting Leather Trim, Brass Combination Locks and Engraved Owner's Plates, c. 1970–1985","description":"  \u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eThree hard-sided cases in graduated sizes, built to nest and travel together.\u003c\/p\u003e\n\u003cp\u003eThe covering is \u003cstrong\u003eHartmann's signature tweed\u003c\/strong\u003e — a dense woven cloth in tobacco brown shot with cream, so tightly woven that it reads almost as a texture rather than a pattern. It is bound at every edge in \u003cstrong\u003ebelting leather\u003c\/strong\u003e: wide russet straps running the length of each lid, dark brown piped trim around every corner and seam, and heavy stitching visible throughout.\u003c\/p\u003e\n\u003cp\u003eEach case carries a \u003cstrong\u003ering-and-bracket leather handle\u003c\/strong\u003e, the grip wrapped and the rings hand-stitched, set beside a \u003cstrong\u003ebrass three-dial combination lock\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eTwo of the three also carry a \u003cstrong\u003esmall engraved brass identification plate\u003c\/strong\u003e mounted beside the lock, cut with a former owner's name and a \u003cstrong\u003eCarson City, Nevada\u003c\/strong\u003e address.\u003c\/p\u003e\n\u003cp\u003eOn one case a \u003cstrong\u003epaper airline security inspection sticker\u003c\/strong\u003e survives on the side belting, with a checker's handwritten marks still on it. One case retains an added black webbing shoulder strap with a swivel snap.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHartmann is one of the genuinely old American luggage houses.\u003c\/strong\u003e It was founded in \u003cstrong\u003e1877 in Milwaukee, Wisconsin\u003c\/strong\u003e by \u003cstrong\u003eJoseph S. Hartmann\u003c\/strong\u003e, a Bavarian trunkmaker, and it built trunks and travel goods through the last quarter of the nineteenth century and into the twentieth.\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003e1956\u003c\/strong\u003e the company opened a plant in \u003cstrong\u003eLebanon, Tennessee\u003c\/strong\u003e, and moved its headquarters and manufacturing there by \u003cstrong\u003e1959\u003c\/strong\u003e. That is where American Hartmann was made for the next half-century. Brown-Forman bought the company in \u003cstrong\u003e1983\u003c\/strong\u003e; Samsonite bought it in \u003cstrong\u003e2012\u003c\/strong\u003e for thirty-five million dollars, and the Lebanon factory closed that December. Production had already begun moving offshore from 2007.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTweed is the collection the name is built on\u003c\/strong\u003e — it and the Wings collection are the two Hartmann lines most associated with traditional American style, and Tweed ran long enough to be rebranded as \u003cem\u003eTweed Legend\u003c\/em\u003e in 2018. The construction is the argument: woven cloth over a rigid shell takes a knock without denting the way moulded plastic does, and belting leather — the same heavy vegetable-tanned hide used for industrial drive belts — goes on every edge and corner precisely because those are the parts that get destroyed first.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe dating comes off the hardware and what is missing from it.\u003c\/strong\u003e These are hard-sided cases with \u003cstrong\u003ebrass three-dial combination locks\u003c\/strong\u003e and \u003cstrong\u003eno wheels and no telescoping handle\u003c\/strong\u003e — they are built to be carried, or handed to a porter. Wheeled upright luggage did not take over until the late 1980s. Combination locks of this pattern, ring-and-bracket leather handles, and engraved brass owner's plates put the set in the decades before that: \u003cstrong\u003ec. 1970–1985\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe owner's plates are the provenance, and they are worth having.\u003c\/strong\u003e Engraved brass identification plates were a service offered on good luggage, cut to order with the traveller's name and home address so that a bag separated from its owner at a hotel or an airport could be returned. Two of these three carry one, both engraved to the same person at a \u003cstrong\u003eCarson City, Nevada\u003c\/strong\u003e address — which puts this set's whole working life within an hour of where it is now offered. The former owner's name and street address are not reproduced here.\u003c\/p\u003e\n\u003cp\u003eAnd the security sticker is not decoration either. A paper inspection tag, initialled by hand, means somebody opened these cases on a departure floor and signed for it. This set flew.\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;\"\u003eThree-piece graduated hard-sided luggage set\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eMaker\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eHartmann — founded 1877, Milwaukee, Wisconsin; manufacturing at Lebanon, Tennessee from 1956. Embossed \u003cem\u003eHartmann Luggage\u003c\/em\u003e to the side belting.\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;\"\u003eHartmann signature tweed in tobacco and cream over a rigid shell, bound throughout in russet and dark brown belting leather with heavy visible stitching\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eFittings\u003c\/td\u003e\n\u003ctd style=\"vertical-align:top;\"\u003eRing-and-bracket wrapped leather handles, brass three-dial combination locks, brass hardware. No wheels and no telescoping handle — these are carried.\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;\"\u003eMaker's name embossed to the leather. Two cases carry engraved brass owner's identification plates cut with a name and a Carson City, Nevada address; one case retains a paper airline security inspection sticker with handwritten checker's marks.\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. 1970–1985. Dated on the combination locks, the ring-and-bracket handles and the absence of wheels or a telescoping handle, which arrived on upright luggage in the later 1980s.\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;\"\u003eExcellent for age and fully serviceable. All three cases are rigid and square with no crushing, splitting or delamination; every corner and edge binding is intact and firmly stitched with no loose or broken thread; all three handles are sound and safe to carry by; all three combination locks are present and operate. The tweed is clean, unfaded and complete throughout with no tears, holes or bald patches. \u003cstrong\u003eExpect honest travel wear to the leather\u003c\/strong\u003e — scuffing, scratching and surface marking along the lid straps and corner bindings where the cases were handled and stacked, along with light darkening to the handles and minor tarnish to the brass. One case has an added webbing shoulder strap. No repairs, no replaced parts and no odour. \u003cstrong\u003eCombinations are not known and the locks are not supplied set to a code.\u003c\/strong\u003e 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\u003eA graduated set of three is more useful sitting still than most furniture is.\u003c\/p\u003e\n\u003cp\u003eStacked largest to smallest in a corner, at the foot of a bed, beside a wardrobe or under a console, they make a column with real presence — and every one of them opens. That is closed storage for out-of-season clothes, spare bedding, holiday decorations, photographs, paperwork, or anything else that has nowhere to live. The tweed and leather look intentional in a way plastic bins never will.\u003c\/p\u003e\n\u003cp\u003eTwo stacked make an end table beside a chair, at the right height for a lamp and a book. One alone works at the end of a hall for gloves, dog leads and post.\u003c\/p\u003e\n\u003cp\u003eThey also still travel. Hard-sided cases protect what is inside far better than soft bags, they stack properly in a car boot, and they are the right size for a train, a road trip or a long weekend where nobody is dragging anything through an airport.\u003c\/p\u003e\n\u003cp\u003eAnd the details reward attention: the wrapped ring handles, the brass dials, the engraved plate, the security sticker somebody stuck on at a departure gate. Very few objects tell you this plainly that they were used and cared for.\u003c\/p\u003e\n\u003cp\u003eA note on care, and with tweed-over-shell luggage the rule is dry. \u003cstrong\u003eDo not soak these and do not put them away damp.\u003c\/strong\u003e Water gets through the cloth into the shell and the board beneath, where it swells, lifts the covering and will eventually smell.\u003c\/p\u003e\n\u003cp\u003eVacuum the tweed with a brush attachment; spot clean a mark with a barely damp cloth and dry it at once. Feed the leather once or twice a year with a neutral conditioner worked in thinly and wiped off, keeping it off the tweed, and use no silicone spray or shoe polish, which builds a film and stains woven cloth permanently.\u003c\/p\u003e\n\u003cp\u003eStore them somewhere dry rather than a basement or an unheated garage, latched but not locked, with a cedar block or a silica pack inside and the lids very slightly ajar if the room is humid. Lift by the handle, not by the lid edge.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48042206560361,"sku":"VE-0711","price":556.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_2101.jpg?v=1789141676"},{"product_id":"florentine-giltwood-music-box-with-fragonard-s-a-young-girl-reading-embossed-scroll-ornament-on-a-crackled-ivory-ground-italy-c-1955-1975","title":"Florentine Giltwood Music Box with Fragonard’s “A Young Girl Reading”, Embossed Scroll Ornament on a Crackled Ivory Ground, Italy, c. 1955–1975","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA shallow hinged casket in gilded and painted wood, with a music movement in the base.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eedges are scalloped and serpentine\u003c\/strong\u003e rather than straight, carried all the way round the lid and the box, and finished in \u003cstrong\u003eburnished gold\u003c\/strong\u003e that runs as a band inside the outline.\u003c\/p\u003e\n\u003cp\u003eThe ground is an \u003cstrong\u003eivory crackle\u003c\/strong\u003e — a deliberately crazed paint film over gesso, with the gold showing through where it is worn back.\u003c\/p\u003e\n\u003cp\u003eFlanking the centre, \u003cstrong\u003eembossed scroll ornament\u003c\/strong\u003e stands up out of the surface in low relief, pressed into the gesso rather than carved.\u003c\/p\u003e\n\u003cp\u003eThe centre panel carries a print of \u003cstrong\u003eFragonard’s \u003cem\u003eA Young Girl Reading\u003c\/em\u003e\u003c\/strong\u003e, applied and varnished into the ground, framed by a fine gilt beaded line.\u003c\/p\u003e\n\u003cp\u003eInside: plain sanded wood, a \u003cstrong\u003edivided two-compartment tray\u003c\/strong\u003e, and brass hinges. Underneath, \u003cstrong\u003efour ball feet\u003c\/strong\u003e, a \u003cstrong\u003ediamond winding key\u003c\/strong\u003e in a brass grommet, and two screws holding the movement.\u003c\/p\u003e\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThis is Florentine work, and the finish is the whole craft.\u003c\/strong\u003e Florence built a trade after the war on gilded and painted woodware — boxes, trays, frames, wastebaskets, tissue covers — made by laying gesso over wood, pressing ornament into it, gilding, then painting back over the gold and rubbing through. The scalloped edge, the crackle ground, the embossed scrollwork and the burnished gold band are the signature of that workshop tradition, and they were exported in enormous numbers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIt is not an antique, and saying so plainly is the point.\u003c\/strong\u003e Everything about the construction is twentieth-century: the machine-cut scalloped edge, the pressed rather than carved ornament, the applied print, the brass ball feet and the screw-mounted movement. Dated \u003cstrong\u003ec. 1955–1975\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe picture is worth knowing, because it is a real one.\u003c\/strong\u003e Jean-Honoré Fragonard painted \u003cem\u003eA Young Girl Reading\u003c\/em\u003e around 1769. It hangs in the National Gallery of Art in Washington, and it is one of the most reproduced images of the French eighteenth century — a girl in a lemon-yellow dress in profile, propped against a cushion, holding a small book at arm's length. Fragonard painted it fast and left the brushwork showing, and part of why it travelled so well onto boxes and trays is that it is a picture of a private, ordinary moment rather than a grand one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe crackle is intentional and it is not damage.\u003c\/strong\u003e A paint film laid over a ground that shrinks at a different rate opens into a fine net as it dries. Florentine finishers used it deliberately, because a crazed ivory over gold reads instantly as age, and because the cracks catch the gold underneath.\u003c\/p\u003e\n\u003cp\u003eThe box carries \u003cstrong\u003eno maker's mark or label\u003c\/strong\u003e and is offered \u003cstrong\u003eunattributed\u003c\/strong\u003e, as most Florentine giltwood is — the trade was made up of small workshops supplying exporters, and the paper labels that identified them rarely survive.\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;\"\u003eFlorentine giltwood music box with a hinged lid and a divided interior tray. Approx. 7 in wide, 6 in deep and 3 in high.\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;\"\u003eFlorence, Italy. Workshop not identified; offered unattributed.\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;\"\u003eShallow rectangular casket with scalloped serpentine edges throughout, hinged lid on brass hinges, two-compartment interior tray, four brass ball feet, and a diamond winding key to the underside\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;\"\u003eGesso ground with pressed embossed scrollwork, gilded and overpainted in a crackled ivory rubbed back to the gold, with a burnished gold band following the outline; centre panel with an applied and varnished print of Fragonard’s \u003cem\u003eA Young Girl Reading\u003c\/em\u003e in a gilt beaded frame\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;\"\u003eWood with gesso, gold and paint finish; brass hinges, feet and winder\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 maker's mark, stamp or label. Offered unattributed.\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. 1955–1975. Dated on the Florentine gesso-and-gilt finish, the machine-cut scalloped edge, the pressed rather than carved ornament, the applied print and the screw-mounted movement. Not represented as 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. The box is sound and square, the lid closes true, the hinges are firm and the interior tray is complete and clean. \u003cstrong\u003eThe fine crazing across the ivory ground is the intended finish, not damage.\u003c\/strong\u003e Expect wear to the gilding along the scalloped edges where the box has been handled, some rubbing and small losses to the ground at the corners, light soiling to the print, and age marks to the plain interior. \u003cstrong\u003eThe movement has not been serviced and is not represented as playing\u003c\/strong\u003e. 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\u003eA box on a dressing table is one of the few decorative objects that also earns its place.\u003c\/p\u003e\n\u003cp\u003eRings, earrings, cufflinks, collar stays, a watch, spare keys, stamps, guitar picks — small things multiply and a divided tray with a lid is the only thing that stops them migrating across a surface. This one has two compartments and a lid that shuts properly, which is more than most decorative boxes manage.\u003c\/p\u003e\n\u003cp\u003eIt is also a genuinely good-looking object. Ivory and gold is a scheme that goes with everything — painted furniture, dark wood, marble, brass — and the scalloped edge and raised scrollwork mean it holds its shape in low light where a plain box would flatten out. On a dressing table, a hall console, a bedside table or a bookshelf it reads as considered rather than as clutter.\u003c\/p\u003e\n\u003cp\u003eThe picture gives it a second life as a small conversation. Most people recognise the yellow dress without being able to name it; being able to say it is a Fragonard from about 1769 and hangs in Washington is the kind of thing a good object should let you do.\u003c\/p\u003e\n\u003cp\u003eIt gives well. A wedding, a twenty-first, a housewarming, a graduation — a lidded box is the safest gift there is, because everyone finds a use for one.\u003c\/p\u003e\n\u003cp\u003eA note on care, and gilded gesso has one rule. \u003cstrong\u003eNever use water on it.\u003c\/strong\u003e The ground is water-soluble under the paint and the gilding sits on top of it; a damp cloth will lift both, and it will not come back. Dust with a soft dry brush and nothing else.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDo not polish it and do not wax it.\u003c\/strong\u003e Furniture polish darkens gesso permanently and fills the crackle, which is the finish you are paying for.\u003c\/p\u003e\n\u003cp\u003eKeep it out of direct sunlight, which will fade the print, and out of damp, which lifts gesso off wood. If you want the movement playing, have a clock or music-box repairer look at it rather than winding it hard — an unserviced movement is easy to break and cheap to service.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48047022637161,"sku":"VE-0734","price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/C96B0642-0C4F-4F86-81EF-C7DB71F7A8DF.jpg?v=1789273787"},{"product_id":"griffon-black-leather-gentlemans-jewellery-case-applied-gilt-crown-on-a-red-velvet-lid-panel-gold-tooled-double-line-borders-fitted-red-velvet-interior-with-cufflink-rack-and-lid-straps-box-made-in-sweden-c-1950-1970","title":"Griffon Black Leather Gentleman's Jewellery Case, Applied Gilt Crown on a Red Velvet Lid Panel, Gold-Tooled Double-Line Borders, Fitted Red Velvet Interior with Cufflink Rack and Lid Straps, Box Made in Sweden, c. 1950–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA hinged rectangular dresser case in black leather, made to sit out rather than be put away.\u003c\/p\u003e\n  \u003cp\u003eThe lid is \u003cstrong\u003etooled in gold with a double-line border\u003c\/strong\u003e — two parallel rules run in with a heated roll, following the edge the whole way round and turning square at each corner.\u003c\/p\u003e\n  \u003cp\u003eInside that border the lid carries an \u003cstrong\u003einset panel of red velvet\u003c\/strong\u003e, and at the centre of the panel an \u003cstrong\u003eapplied gilt crown\u003c\/strong\u003e, raised and separately fixed rather than printed or stamped into the surface.\u003c\/p\u003e\n  \u003cp\u003eThe interior is \u003cstrong\u003elined throughout in red velvet\u003c\/strong\u003e and divided into compartments.\u003c\/p\u003e\n  \u003cp\u003eAcross one division stands a \u003cstrong\u003eslotted rack\u003c\/strong\u003e — a velvet-covered bar cut with narrow slits, made so that cufflinks and studs stand upright in a row instead of lying loose in a heap.\u003c\/p\u003e\n  \u003cp\u003eUnder the lid are \u003cstrong\u003eretaining straps\u003c\/strong\u003e, set horizontally, which grip a tie bar or a collar pin flat against the velvet so it does not drop when the box is opened.\u003c\/p\u003e\n  \u003cp\u003eMarked in gold inside the lid, in two lines: \u003cstrong\u003eGRIFFON\u003c\/strong\u003e above \u003cstrong\u003eBOX MADE IN SWEDEN\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003e\u003cstrong\u003eThe mark inside the lid describes a division of labour, and it is the most informative thing on the box.\u003c\/strong\u003e “Griffon” is the house whose jewellery came in it. “Box made in Sweden” is the country of origin of the case itself, stamped separately because the case and its contents came from different countries.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eSweden built an export industry out of presentation casework.\u003c\/strong\u003e Through the middle of the century the Malmö case factories — Skandinaviska Etuifabriken chief among them, trading as Skandetui — supplied fitted leather and leathercloth cases to jewellery houses abroad, and the American men’s jewellery trade was their largest customer. Swank of New York, the biggest name in the category, boxed a great deal of its output in Swedish cases stamped exactly this way.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eAmerican men’s jewellery was a gift business, and the box did the selling.\u003c\/strong\u003e Cufflinks, tie bars, collar stays and studs were bought for other people — at Christmas, at graduation, on Father’s Day — by buyers who could not judge the jewellery and could immediately judge the case. So the houses spent on the case: real leather, gold tooling, velvet, a fitted interior. A great deal of the perceived value of a pair of cufflinks in 1958 was sitting underneath them.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe interior fittings are the clearest evidence of what it held.\u003c\/strong\u003e A slotted rack is a cufflink rack and nothing else — the slits exist to take the shank of a link or the post of a stud so the face stands up and can be read at a glance. The horizontal straps under the lid are tie-bar straps. Both fittings belong to a specific wardrobe: a man dressing in a shirt with french cuffs and a collar that needed holding down, which is to say ordinary business dress from the war years through to the end of the 1960s.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe crown is a decorative convention of the Swedish case trade, not a hallmark.\u003c\/strong\u003e Crowns appear constantly on Scandinavian casework of these decades as a signal of quality and formality — sometimes one, sometimes three. It carries no royal warrant, no maker’s identity and no date, and it should not be read as any of those things. It is there because a crown made a box look expensive, and it worked.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThen the cuff changed and the category went with it.\u003c\/strong\u003e Barrel cuffs with sewn-on buttons replaced french cuffs in mass shirting, business dress loosened through the 1970s, and the daily need for cufflinks disappeared. The jewellery mostly got broken up and sold on. The boxes, having no wearing part and being too handsome to throw out, survived in far greater numbers than their contents — which is why a fitted case like this one is typically found empty.\u003c\/p\u003e\n  \u003cp\u003eDated on the construction rather than the style: leather laid over a board and timber carcass, a roll-tooled double-line gilt border, an applied gilt crown on an inset velvet lid panel, a fitted cufflink rack with tie-bar straps under the lid, and a gold country-of-origin stamp reading \u003cem\u003eBox made in Sweden\u003c\/em\u003e. That combination is the American men’s jewellery presentation case of the post-war decades: \u003cstrong\u003ec. 1950–1970\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eGentleman’s fitted jewellery and cufflink case, Swedish-made, branded Griffon\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApprox. 8½ in wide by 5½ in deep by 2½ in high\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular hinged box with a flat lid, opening to a divided fitted interior\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eGold roll-tooled double-line border to the lid and sides; inset red velvet lid panel centred with an applied gilt crown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eInterior\u003c\/td\u003e\n\u003ctd\u003eRed velvet throughout, divided into compartments, with a slotted velvet-covered cufflink and stud rack and horizontal retaining straps under the lid for a tie bar or collar pin\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eBlack leather over a board and timber carcass; red velvet lining; gilt tooling and applied gilt mount\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eStamped in gold inside the lid in two lines: GRIFFON \/ BOX MADE IN SWEDEN\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1970. Dated on the leather-over-carcass construction, the roll-tooled gilt border, the applied crown on an inset velvet panel, the fitted cufflink rack with lid straps, and the gold country-of-origin stamp.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood, and structurally sound. The carcass is square, the hinge works and the lid closes flat. The gold tooling is legible the whole way round and the applied crown is firmly fixed. The leather carries the light surface scuffing and edge rub normal to a box that lived on a dresser for decades. The red velvet is complete and unholed, with the slight flattening of the nap and darkening of colour usual in velvet of this age, heaviest where objects sat. The cufflink rack and the lid straps are intact and still hold. No tears, no losses, no repairs and no restoration. \u003cstrong\u003eSold empty\u003c\/strong\u003e — no jewellery is 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\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eThis is a box that solves the specific problem of small metal objects on a hard surface.\u003c\/p\u003e\n  \u003cp\u003eCufflinks, collar stays, a spare watch strap, a signet ring, guitar picks, SIM trays, the screws from something you took apart — all of it currently lives in a dish or a drawer where it slides around and gets lost. The slotted rack was engineered for exactly that class of object, and it still works whether or not you own a pair of cufflinks.\u003c\/p\u003e\n  \u003cp\u003eIt also reads well closed, which is the harder test. Black leather with a fine gold line and a small raised crown is quiet from across a room and rewards a second look up close — the opposite of the polished-brass dresser box, which announces itself and then has nothing further to say.\u003c\/p\u003e\n  \u003cp\u003eOn a dresser it does the job it was built for. On a desk it takes paper clips, flash drives and business cards and looks considerably better than the acrylic tray it replaces. On a hall table by the door it becomes the place keys and loose change go, which is the single most useful object any entryway can have.\u003c\/p\u003e\n  \u003cp\u003eThe red interior is the reason to leave it open. Red velvet against black leather is a deliberate contrast and it flatters metal in particular; anything silver or gold set on it gains. Watch collectors use boxes like this for exactly that reason, as a soft-lined tray that will not scratch a case back.\u003c\/p\u003e\n  \u003cp\u003eIt stacks visually with books and with other dark leather, and it is small enough to move — a shelf, a nightstand, a closet island — until it finds the right place.\u003c\/p\u003e\n  \u003cp\u003eA note on care. \u003cstrong\u003eKeep it dry and out of direct sun.\u003c\/strong\u003e Sunlight is what turns red velvet brown and what dries and cracks old leather, and neither is reversible.\u003c\/p\u003e\n  \u003cp\u003eDust the velvet with a soft brush rather than a cloth, brushing in one direction so the nap lies flat; a vacuum nozzle will pull the pile out of a sixty-year-old lining. Lift the nap where it has flattened by brushing gently against it, not by wetting it.\u003c\/p\u003e\n  \u003cp\u003eDo not feed the leather with oil or saddle soap. This is a thin skin laid over board, not a boot; conditioner soaks through, swells the adhesive beneath and lifts the leather at the corners. A dry cloth is enough, and if the surface looks tired a trace of neutral cream on a cloth, worked well away from the gold, is as far as it should go.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eNever put solvent near the gilt tooling or the applied crown.\u003c\/strong\u003e Alcohol and household cleaners take gold leaf off in one pass, and it cannot be put back.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48047048917097,"sku":"VE-0740","price":62.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/37B980A0-B469-456C-AE3A-8348E649DDAF.jpg?v=1789288249"},{"product_id":"giltwood-footed-jewellery-casket-with-ballet-studio-scene-and-white-filigree-trim-red-velvet-interior-original-l-gambor-twinkle-toes-label-japan-after-1952","title":"Vintage Giltwood Ballet Jewellery Casket, Japan, c. 1952–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\u003cp\u003eA small gilt casket on four shaped legs, with a ballet studio on the lid and its original paper label still on the underside.\u003c\/p\u003e\u003cp\u003eThe box is wood, finished in warm gold with the brush strokes left visible in the gilding, and it stands clear of the surface on four cabriole legs that sweep out at the foot.\u003c\/p\u003e\u003cp\u003eThe lid carries a printed scene of a ballet rehearsal: a woman in a rose gown at a harp, a ballerina in a pale blue tutu on point beside a grand piano, an accompanist at the keyboard, and two small girls in blue watching from the doorway.\u003c\/p\u003e\u003cp\u003eAround the scene, and again around the lid edge and down the front of every leg, runs an applied openwork filigree trim finished in white over the gold, so the ornament reads as lace against the gilt.\u003c\/p\u003e\u003cp\u003eLift the lid and the whole interior is lined in deep red velvet — base, walls and the underside of the lid — with a raised divider across the floor making two compartments. The lid swings on two small brass hinges.\u003c\/p\u003e\u003cp\u003eThe underside is flat, plain gilt, and carries a printed paper label: L GAMBOR, Twinkle Toes in script, MADE IN JAPAN.\u003c\/p\u003e\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\u003cp\u003eThat label does two things at once. It dates the box and it names it.\u003c\/p\u003e\u003cp\u003eFrom 1947 to 1952, goods exported from Japan under Allied occupation were required to be marked Occupied Japan or Made in Occupied Japan. The occupation ended on 28 April 1952 and the wording reverted to a plain Made in Japan. This label reads Made in Japan with no occupation wording, so the box was exported after April 1952.\u003c\/p\u003e\u003cp\u003eTwinkle Toes is the name of the model rather than a description — the title given to this particular lid scene by whoever commissioned it. L Gambor appears as the importer or decorator. The name has not been matched to a recorded firm, and the box is offered unattributed beyond what the label itself states.\u003c\/p\u003e\u003cp\u003eThe form is Florentine, and the fact that it was made in Japan is the interesting part. Gilded and painted wooden caskets on cabriole legs, trimmed in applied filigree, were an Italian speciality — Florence produced them for the tourist and gift trade for generations. After the war, Japanese workshops took up the same idiom for the American export market and produced it at volume: the same gilt, the same legs, the same lace trim, made six thousand miles from Florence and sold in American department stores and gift shops.\u003c\/p\u003e\u003cp\u003eThe decoration is a printed scene rather than a painting, and the object says so under magnification. That is how these lids were done, and it is why the drawing is finer than any hand could manage at this scale. The work that is by hand is everything around it — the gilding, the applied filigree, the white finishing over the gold, the velvet lining and the fitting of the divider.\u003c\/p\u003e\u003cp\u003eThere is no musical movement. The underside is flat and unbroken, with no winding key, no keyhole and no access panel, and the interior is lined throughout with no compartment for a mechanism. Many boxes of this type were fitted as music boxes; this one was made as a plain jewellery casket.\u003c\/p\u003e\u003ch3\u003eProduct Details\u003c\/h3\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eGiltwood footed jewellery casket with hinged lid\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 7 in wide by 4½ in deep by 4½ in tall on the legs\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular box with a bowed front, raised on four shaped cabriole legs; hinged lid on two brass hinges\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003ePrinted ballet studio scene set into the lid; applied openwork filigree trim finished in white, running around the lid panel, the lid edge, the body and down the front of each leg\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eInterior\u003c\/td\u003e\n\u003ctd\u003eLined throughout in deep red velvet — base, sides and lid underside — with a raised divider across the floor forming two compartments\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003ePrinted paper label to the underside: L GAMBOR · Twinkle Toes · MADE IN JAPAN. The name has not been matched to a recorded firm; offered unattributed beyond the label.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eAfter April 1952. Japanese exports were required to be marked Occupied Japan from 1947 until the occupation ended on 28 April 1952; this label carries the plain Made in Japan wording that replaced it.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFitment\u003c\/td\u003e\n\u003ctd\u003eNot a music box. No movement, winding key, keyhole or access panel.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good and sound. The box is solid, all four legs are firm and it stands level. The lid closes true and both brass hinges work correctly. The printed lid scene is bright and undamaged and the filigree trim is complete and attached all the way round. The red velvet lining is strong and unfaded throughout with no splitting at the corners, and the divider is secure. The gilding is rubbed to a warmer tone along the lid edges, the corners and the leading edge of each leg, and there is a darker rubbed mark on the top edge of the lid at the front. The paper label is present and fully legible, torn at its right edge, with a patch of old adhesive residue on the gilt beside it. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\u003cp\u003eA box that stands on legs is a different object from a box that sits flat.\u003c\/p\u003e\u003cp\u003eFour inches of clearance turns it from storage into furniture — a miniature commode on a dressing table or a nightstand, with a shadow underneath it and a silhouette that reads from across the room. It is the single reason these were made this way, and it still works.\u003c\/p\u003e\u003cp\u003eThe gold is the useful kind. Rubbed, warm and slightly uneven rather than bright and even, it sits comfortably with old mirror glass, brass, painted wood and worn leather in a way that new gilt never manages.\u003c\/p\u003e\u003cp\u003eOpen it and the red is a genuine shock. Deep velvet against warm gold is a pairing nobody uses any more, and it makes the inside of the box an event rather than a lining — the reason to open it in front of somebody.\u003c\/p\u003e\u003cp\u003eIt holds what it was built to hold. Two compartments take rings, earrings, a watch, cufflinks, a pair of studs; the velvet keeps them from sliding and from scratching.\u003c\/p\u003e\u003cp\u003eThe lid scene earns its place for a specific buyer. Anyone who danced, whose daughter dances, or who teaches will read that rehearsal room immediately — the harp, the accompanist at the piano, the small girls in the doorway waiting their turn. As a gift for a dancer it is considerably better than anything currently made.\u003c\/p\u003e\u003cp\u003eAnd it does not have to hold jewellery. On a desk it takes stamps, keys and paper clips; on a hall table it takes the things that come out of pockets; on a shelf it simply stands there being a small gilt building on legs.\u003c\/p\u003e\u003cp\u003eA note on care. Keep it dry and do not wipe the gilding with anything damp. Gilt over wood lifts under moisture and will not go back.\u003c\/p\u003e\u003cp\u003eDust it with a soft dry brush rather than a cloth. The filigree trim is openwork and a cloth catches in it; a brush goes through it.\u003c\/p\u003e\u003cp\u003eLeave the label alone. It is the only documentation the box has, and cleaning around it is how these get lost.\u003c\/p\u003e\u003cp\u003eLift it by the body rather than the lid, and keep it out of direct sun, which fades red velvet faster than almost any other textile.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48048251830377,"sku":"VE-1605","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/0EE25A25-B37B-4DA7-A100-987738667CA0_38cad3a7-afa3-4113-a82b-27a558650982.jpg?v=1789322753"},{"product_id":"vintage-hexagonal-slatted-wood-basket-rope-beckets-c-1920-1955","title":"Vintage Hexagonal Slatted Wood Basket with Rope Beckets, c. 1920–1955","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small six-sided basket built out of thin wooden laths, silvered grey by weather, with twisted rope loops at the rim.\u003c\/p\u003e\n  \u003cp\u003eThe walls are courses of flat sawn laths laid horizontally with an open gap between each one, five deep, carried on a vertical post at every one of the six corners. Nothing is glued and nothing is woven — every joint is pinned with a small U-shaped wire staple driven across the lath into the post beneath.\u003c\/p\u003e\n  \u003cp\u003eThe floor is a separate lattice of laths running edge to edge, and under it, across the outside, run two heavier battens that stand the basket clear of whatever it is set on.\u003c\/p\u003e\n  \u003cp\u003eThe rim is where the work shows. Driven into the top course at intervals are wire rings, each one bent by hand from a single length of wire — a loop turned over and both tails driven down into the wood, one of them folded flat against the surface. Through several of them are tied lengths of twisted natural-fibre twine, pale tan, frayed open at the ends.\u003c\/p\u003e\n  \u003cp\u003eThe outside is bleached to a hard silver-grey with the grain standing proud; the inside is browner and softer in colour, and the laths there are darker and less eroded.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eEverything about the way this is put together says working gear rather than housewares, and the fastenings are the reason.\u003c\/p\u003e\n  \u003cp\u003eThere is no joinery in it at all — no nails, no screws, no glue, no weaving. Every lath is held by a wire staple driven across it. That is how cheap, repairable, expendable equipment gets built: fast to make, fast to mend, and no great loss when the sea takes one.\u003c\/p\u003e\n  \u003cp\u003eThe rim rings are the same argument made more plainly. They are not screw eyes out of a hardware drawer. Each is bent from a single piece of wire, looped, and driven home by hand, and they sit at irregular intervals rather than a measured pattern. Somebody made them at a bench, on the spot, for this basket.\u003c\/p\u003e\n  \u003cp\u003eWhat is tied through them is a becket — a rope loop fitted to an object so it can be carried, hung, lashed down or hauled. Beckets are marine fittings, and they are what turn a box into gear.\u003c\/p\u003e\n  \u003cp\u003eSlatted hexagonal containers of this construction belong to fishing and shellfish work, where an open lath basket does a job a solid one cannot: water and grit run straight out of it, it dries instead of souring, and it can be dunked, drained and stacked wet. What this particular basket held is not recorded on it, and it is not large enough to be a lobster pot, so it is offered as what it can be shown to be rather than given a job it cannot prove.\u003c\/p\u003e\n  \u003cp\u003eThe cordage is what dates it. The twine is natural fibre — it is fuzzy along its length where individual fibres have broken and lifted, it frays open into a soft brush at the ends, and its twist is uneven. Synthetic rope does none of that; it stays slick, holds its lay, and melts rather than fuzzes. Natural-fibre line was displaced from working fishing gear by nylon and polypropylene through the 1950s and 1960s, and gear still rigged with hemp or sisal was rigged before that change.\u003c\/p\u003e\n  \u003cp\u003eThe staple-and-lath construction sets the other end: wire staples in this use belong to the machine age rather than before it. On that evidence it is offered as c. 1920–1955, unattributed. There is no stamp, brand, paint, label or name anywhere on it; a port mark or a burned-in initial would narrow it, and there is none.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSmall hexagonal slatted wooden basket with rope beckets\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eSix courses of flat sawn laths on six vertical corner posts, every joint pinned with a U-shaped wire staple; separate lath floor lattice with two heavier battens beneath as runners\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eFittings\u003c\/td\u003e\n\u003ctd\u003eHand-bent wire rings driven into the top course at intervals, with lengths of twisted natural-fibre twine tied through several of them\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 8 in across the flats and 5 in tall, excluding the rope\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eTimber\u003c\/td\u003e\n\u003ctd\u003eSoftwood laths, bleached hard silver-grey outside with the grain raised; browner and less eroded inside\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone. No stamp, brand, paint, label or name anywhere on the basket. Offered unattributed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1920–1955, on the cordage and the fastenings. The twine is natural fibre — fuzzed along its length, frayed soft at the ends, unevenly twisted — and natural-fibre line was displaced from working fishing gear by nylon and polypropylene through the 1950s and 1960s, so gear still rigged with it was rigged before that change. The staple-fastened lath construction sets the earlier end.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound as a display object, with the honest wear of something that lived outdoors. The hexagonal form holds and the basket stands square on its runners. All six corner posts are present, the floor lattice is complete, and the wire staples are in place throughout with only surface rust. The wood is heavily weathered: silvered and fibrous on the outer faces, with raised grain, softened edges, small splits along a few lath ends and one short split in the rim. Several laths flex if pressed. The hand-bent wire rings are all present; the twine is frayed, broken at some ends and does not form a continuous handle. Not to be loaded or carried by the rope. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eThis is a texture object, and there is almost nothing that does what it does.\u003c\/p\u003e\n  \u003cp\u003eSilvered, fibrous, open-slatted wood catches light along every edge and throws a grid of small shadows through itself. On a shelf of smooth ceramics and polished wood it is the thing your eye stops on, and it costs a fraction of what a piece of sculpture would to do the same job.\u003c\/p\u003e\n  \u003cp\u003eThe hexagon is the other half of it. Round baskets and square boxes are everywhere; a six-sided one reads as deliberate and slightly odd, and it looks different from every side as you walk past it.\u003c\/p\u003e\n  \u003cp\u003eIt is a genuinely useful shape too. At eight inches across it takes keys and post in an entry, garlic and shallots on a counter, seed packets and twine on a potting bench, remotes on a coffee table, or a small potted plant dropped in inside its own cachepot.\u003c\/p\u003e\n  \u003cp\u003eThe palette could not be easier. Grey, silver and pale tan, with a little rust. It works against white plaster, painted board, dark walls, brick and stone, and it belongs with linen, stoneware, iron and old wood.\u003c\/p\u003e\n  \u003cp\u003eAnd it carries a real story without shouting about it. Hand-bent wire rings, rope beckets, staple-pinned laths, bleached by years of weather: this is equipment, not decoration, and the difference is visible from across a room. In a coastal house, a cabin, a workshop or a kitchen it earns its place by being the only honest thing on the shelf.\u003c\/p\u003e\n  \u003cp\u003eA note on care, and the first point is the important one. Do not carry it by the rope. The twine is old, frayed and broken in places, and it is there as evidence rather than as a handle. Lift it with both hands underneath.\u003c\/p\u003e\n  \u003cp\u003eDo not wash it and do not oil it. Weathered wood of this kind takes up water and stays damp inside the laths, and oil will turn the silver grey to a blotchy brown and take the whole character out of it. Dust it with a dry brush.\u003c\/p\u003e\n  \u003cp\u003eKeep it indoors and dry. It has already had its outdoor life; another wet winter would start taking laths off it.\u003c\/p\u003e\n  \u003cp\u003eIf you use it to hold a plant, set the pot in a saucer or a liner first. Standing water in the floor lattice is the one thing that would undo it.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48061411033193,"sku":"VE-1622","price":192.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/7FCE26AC-763D-4939-BDB8-08BB553EDF92.jpg?v=1789460612"},{"product_id":"reclaimed-stave-wood-bucket-planter-terracotta-pot-c-1980-2010","title":"Reclaimed Stave Wood Bucket Planter with Terracotta Pot, c. 1980–2010","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small bucket-shaped planter: a sleeve of weathered wooden staves bound with two wire hoops, with a terracotta pot standing inside it.\u003c\/p\u003e\n  \u003cp\u003eThe staves are vertical and tapered, narrowing toward the base so the whole thing reads as a coopered bucket. They are bleached to a pale silver-white on the outside, with the grain standing proud and the ends cut square. Several carry long drying splits, and one is sprung out of line, leaving an open gap down one side.\u003c\/p\u003e\n  \u003cp\u003eTwo hoops of round galvanized wire run around the outside, upper and lower, each closed with a twisted hook.\u003c\/p\u003e\n  \u003cp\u003eA thin galvanized wire bail arches over the top, hung from two stamped sheet-metal ears fixed to the rim with wire staples. Threaded onto the bail is a length of natural stick as a grip — barkless, fibrous, split and insect-bored.\u003c\/p\u003e\n  \u003cp\u003eInside stands a plain terracotta flower pot with a rolled rim and a drainage hole in its base. The inner faces of the staves carry a reddish-brown bloom where the pot has rubbed against them.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eTurn it over and the identification settles itself, so it is worth doing before anything else is said about this piece.\u003c\/p\u003e\n  \u003cp\u003eThere is no wooden bottom. The staves form an open sleeve from end to end, with no base board, no croze groove cut to receive one, and no trace that one was ever fitted. The terracotta pot is the vessel — it sits down inside the sleeve and its own moulded foot is what you see when the piece is inverted.\u003c\/p\u003e\n  \u003cp\u003eSo this is not a coopered bucket, and it is not an old bucket that lost its bottom and gained a pot. A cooper’s bucket is built around its base: the staves are grooved to take it, and the hoops are driven down to squeeze the joint watertight. Nothing here was ever built to hold water. It was built to hold a flower pot.\u003c\/p\u003e\n  \u003cp\u003eThe hardware says the same. The hoops are round galvanized wire closed with a twisted hook, not the driven flat bands of a cooper. The bail hangs from stamped sheet-metal ears fixed with wire staples, and the grip is a natural stick pushed onto the wire rather than a turned wooden roller. All of that metal is bright, with only light spotting, while the wood beside it has weathered to fibrous silver over a great many years. The two do not share a history.\u003c\/p\u003e\n  \u003cp\u003eWhat you are buying, stated plainly, is old wood in a newer assembly. The staves are genuinely weathered — that surface is decades of sun and rain, not a stain or a wire brush, and it is the reason the piece looks the way it does. The bucket form around it is decorator work.\u003c\/p\u003e\n  \u003cp\u003eOn the evidence of the bright galvanized hoops and bail, the machine-stamped ears and the standard terracotta liner, the assembly is offered as c. 1980–2010. Nothing on the piece is marked, stamped or labelled anywhere, and nothing narrows it further.\u003c\/p\u003e\n  \u003cp\u003eIt is worth adding that the form being copied is a real one. The stave-built bucket with wire or band hoops and a swing bail was the ordinary water, milk and sap vessel of American farms into the twentieth century, and it survived in the decorative vocabulary long after galvanised steel and then plastic had replaced it in the yard.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eBucket-form planter — weathered wooden stave sleeve with a terracotta pot liner\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eTapered vertical staves forming an open sleeve with no base board; two round galvanized wire hoops with twisted hook closures; thin wire bail on stamped sheet-metal ears fixed with wire staples; natural stick grip threaded on the bail\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eLiner\u003c\/td\u003e\n\u003ctd\u003ePlain terracotta flower pot with a rolled rim and a drainage hole, standing loose inside the sleeve\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 6 in tall and 6 in across at the rim, excluding the bail\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eTimber\u003c\/td\u003e\n\u003ctd\u003eSoftwood staves, bleached silver-white with the grain raised; browner and stained inside\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone. No stamp, brand, paint or label anywhere on the wood, the hardware or the pot. Offered unattributed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eAssembly c. 1980–2010, on the hardware — bright galvanized wire hoops and bail, machine-stamped sheet-metal ears and a standard terracotta liner, all showing far less age than the wood beside them. The staves themselves are older reclaimed weathered timber, and the two are not the same date.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound as a display object. The sleeve holds together on both hoops and the terracotta pot sits securely inside. The wood is heavily weathered, which is the point of it: silver and fibrous on the outer faces, with long drying splits through several staves, softened ends, and insect boring in places. One stave is sprung out of line and leaves an open gap down one side; the hoops still hold it. The bail, both ears and all the staples are present and firm. The stick grip is split and bored and will not take weight. The terracotta pot is intact with no chips or cracks, with earth staining inside. Not a watertight vessel and never was. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eBuy this for the surface, and know exactly what you are getting: genuinely old, genuinely weathered wood, made up into a planter you can actually use.\u003c\/p\u003e\n  \u003cp\u003eThat silvered, fibrous, split stave-wood is the hard thing to find. Most rustic planters on the market are new pine stained brown, and they look it from across a room. This is wood that spent years outside, and the grain standing proud of the surface is something no finish reproduces.\u003c\/p\u003e\n  \u003cp\u003eThe practical part is the liner. A plain terracotta pot lifts straight out, which means you can plant into the pot rather than into the wood, water it in the sink, and drop it back. Nothing rots, nothing leaks onto a windowsill, and you can swap the planting seasonally without touching the sleeve.\u003c\/p\u003e\n  \u003cp\u003eAt six inches it takes a four-inch nursery pot almost exactly — a fern, a small ivy, a pot of herbs on a kitchen sill, paperwhites at Christmas, or a succulent if you want something that forgives neglect.\u003c\/p\u003e\n  \u003cp\u003eEmpty, it works just as well as a holder. Wooden spoons and spatulas beside a stove, brushes on a desk, secateurs and twine on a potting bench, cutlery on a table laid outdoors.\u003c\/p\u003e\n  \u003cp\u003eAnd the palette asks nothing of a room. Silver-grey wood, galvanized wire and terracotta belong together and belong with almost everything else — linen, stoneware, painted board, zinc, old iron. In a farmhouse kitchen, a garden room, a porch or a shop display, it does its job without arguing.\u003c\/p\u003e\n  \u003cp\u003eA note on care. Do not carry it by the bail with the pot in it. The grip is split and bored right through, the wire is thin, and the sprung stave means the sleeve is not carrying load evenly. Lift it from underneath.\u003c\/p\u003e\n  \u003cp\u003eNever water the plant while it is in the sleeve. Take the terracotta pot out, water it, let it drain properly, and put it back. Standing water against weathered stave-wood is the one thing that will take this piece apart.\u003c\/p\u003e\n  \u003cp\u003eKeep it indoors or under cover. It has had its outdoor life already, and another wet season would start losing staves.\u003c\/p\u003e\n  \u003cp\u003eDo not oil or seal the wood. Oil turns weathered silver to blotchy brown and takes out the whole character you are paying for. A dry brush is all it wants.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48061541449833,"sku":"VE-1623","price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/385FB2E9-1146-44B5-8B73-8C4619A2BD60_4_5005_c.jpg?v=1789467401"},{"product_id":"vintage-slatted-wood-crate-basket-rope-beckets-c-1920-1955","title":"Vintage Slatted Wood Crate Basket with Rope Beckets, c. 1920–1955","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA small open crate built of thin wooden laths on four corner posts, bleached silver by weather, with twisted rope loops at every corner.\u003c\/p\u003e\n  \u003cp\u003eEach side is four courses of flat sawn lath laid horizontally with an open gap between them, the ends butting against a square corner post that runs the full height. The posts carry on below the bottom course and stand the crate up off the surface on four short feet.\u003c\/p\u003e\n  \u003cp\u003eThe floor is a separate set of laths laid across the width with gaps between, so the whole box is open from every direction.\u003c\/p\u003e\n  \u003cp\u003eThe fastenings are all the same: small U-shaped wire staples, driven by hand across each lath into the post behind it. There is no nail, screw, glue or joint anywhere in it.\u003c\/p\u003e\n  \u003cp\u003eAt all four corners, a wire staple is driven over the top rail, and through each one is tied a length of twisted natural-fibre twine — pale tan, fuzzed along its length and frayed open at the ends.\u003c\/p\u003e\n  \u003cp\u003eThe outer faces are silver-grey and fibrous with the grain standing proud. Inside, the laths are warmer and browner, with rust staining bled out around several of the staples and an ochre residue across part of the floor. One floor lath carries a faint, regular diamond crosshatch on its surface.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eThis crate and the hexagonal basket listed alongside it are built by the same method, and it is worth saying so plainly: laths pinned with hand-driven wire staples onto corner posts, no joinery at all, and rope beckets tied through staples at the corners. They are of a piece.\u003c\/p\u003e\n  \u003cp\u003eThat method is the signature of expendable working gear rather than housewares. It is fast to build, fast to mend, and cheap enough to lose. A cabinetmaker joins a box; a man who needs forty of them by Friday staples laths to posts.\u003c\/p\u003e\n  \u003cp\u003eThe open build is deliberate and it is the reason the form exists. Water and grit fall straight through a slatted crate, the contents dry instead of souring, and it can be dunked, drained and stacked wet. Containers like this did the wet, dirty work of shellfish, produce and market handling, where a solid box would have held the mess in.\u003c\/p\u003e\n  \u003cp\u003eThe rope loops are beckets — rope fitted to an object so it can be carried, hung, lashed or hauled. Tied through a staple at each of four corners, they let the crate be slung, roped down or lifted by two people. That is a rigging detail, not a decorative one.\u003c\/p\u003e\n  \u003cp\u003eThe cordage dates it, and it dates it the same way as its companion. The twine is natural fibre: fuzzy along its length where individual fibres have lifted, frayed soft at the ends, and unevenly twisted. Synthetic rope stays slick, holds its lay and melts rather than fuzzes. Nylon and polypropylene displaced natural line from working gear through the 1950s and 1960s, so gear still rigged with hemp or sisal was rigged before that change. The staple-and-lath construction sets the earlier end, wire staples in this use belonging to the machine age rather than before it.\u003c\/p\u003e\n  \u003cp\u003eOn that evidence it is offered as c. 1920–1955, unattributed. There is no stamp, brand, paint, label or name anywhere on it. What it carried is not recorded, so it is described as what it is rather than assigned a job it cannot prove.\u003c\/p\u003e\n  \u003cp\u003eOne detail is worth stating without an explanation attached. A single floor lath carries a faint diamond crosshatch across its face, fine and regular and evenly spaced rather than drawn by hand, alongside a pale ochre residue. It is machine-uniform, but what left it is not something the crate can tell you, and no guess is offered here.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eSmall open slatted wooden crate with rope beckets\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eFour courses of flat sawn lath per side on four square corner posts, every lath pinned with a hand-driven U-shaped wire staple; separate lath floor; corner posts extended below as feet\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eFittings\u003c\/td\u003e\n\u003ctd\u003eA wire staple driven over the top rail at each of the four corners, with twisted natural-fibre twine tied through each one\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 9 in long by 7 in wide by 4½ in tall, excluding the rope\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eTimber\u003c\/td\u003e\n\u003ctd\u003eSoftwood laths, bleached silver-grey outside with the grain raised; warmer and browner inside\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone. No stamp, brand, paint, label or name anywhere. A faint regular diamond crosshatch and an ochre residue on one floor lath, origin unknown. Offered unattributed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1920–1955, on the cordage and the fastenings. The twine is natural fibre — fuzzed along its length, frayed soft at the ends, unevenly twisted — and natural-fibre line was displaced from working gear by nylon and polypropylene through the 1950s and 1960s. The staple-fastened lath construction sets the earlier end.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound as a display object, with the honest wear of something that lived outdoors. The crate stands square and firm on all four feet and holds its shape under its own weight. All four corner posts are present, the floor is complete, and the staples are in place throughout with surface rust and rust bleed into the wood around several of them. The wood is heavily weathered: silvered and fibrous outside, with raised grain, softened edges and short splits at a few lath ends. The twine is present at all four corners but frayed, broken at some ends, and does not form a continuous carrying loop. Not to be loaded or lifted by the rope. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eAn open slatted box does something a solid one cannot: it shows you what is in it and throws a grid of shadow while doing it.\u003c\/p\u003e\n  \u003cp\u003eSilvered, fibrous, gap-built wood catches light along every lath edge. Set it on a shelf of smooth ceramics and painted wood and it is the thing the eye stops on, and it does that work for a fraction of what a piece of sculpture costs.\u003c\/p\u003e\n  \u003cp\u003eThe proportions are the useful part. At nine by seven it is the size of a deep letter tray, which puts it in play almost anywhere: post and keys in an entry, onions and garlic on a counter, seed packets and labels on a potting bench, soap and flannels in a bathroom, remotes on a low table, or a row of small pots dropped in on their own saucers.\u003c\/p\u003e\n  \u003cp\u003eIt stacks visually with other things and argues with none of them. Silver-grey, pale tan and rust, against linen, stoneware, zinc, iron, brick and old wood.\u003c\/p\u003e\n  \u003cp\u003eAnd it reads as equipment rather than decoration from across a room, which is the whole difference. Hand-driven staples, rope beckets at four corners, posts worn to feet, bleached by years of weather. Nothing about it was designed to be charming, which is exactly why it is.\u003c\/p\u003e\n  \u003cp\u003eIt also pairs. The hexagonal basket listed alongside it is built the same way, by the same method, and the two shown together make an obvious and well-priced group for a shelf, a shop display or a photograph.\u003c\/p\u003e\n  \u003cp\u003eA note on care, and the first point matters. Do not carry it by the rope. The twine is old, frayed and broken in places, and it is there as evidence rather than as a handle. Lift it from underneath with both hands.\u003c\/p\u003e\n  \u003cp\u003eDo not wash it and do not oil it. Weathered wood takes up water and holds it inside the laths, and oil will turn the silver grey to blotchy brown and take the whole character out of it. Dust it with a dry brush.\u003c\/p\u003e\n  \u003cp\u003eKeep it indoors and dry. It has already had its outdoor life, and another wet winter would start working the staples loose.\u003c\/p\u003e\n  \u003cp\u003eIf you set anything damp in it, put a liner or a saucer underneath. The rust bleed around the staples shows exactly what standing moisture does to this piece.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48061568188521,"sku":"VE-1624","price":164.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/728865E6-057D-4725-8119-D2DB7BFF3A58_4_5005_c.jpg?v=1789467433"},{"product_id":"kuchenprofi-18-10-stainless-magnetic-tool-knife-rack-c-1988-2010","title":"Küchenprofi 18\/10 Stainless Magnetic Tool \u0026 Knife Rack c. 1988–2010","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA wall-mounted twin-channel magnetic rack in 18\/10 stainless steel, made for Küchenprofi of Solingen and marked with the diamond the firm used on its own-brand goods. Sold as a knife rack; just as good, and arguably better, over a bench.\u003c\/p\u003e\n  \u003cp\u003eThe form is a single extruded bar with a wide brushed centre panel and a rolled, polished lip along each long edge. Between lip and panel runs a recessed channel top and bottom. The magnets sit behind those two channels, so anything laid across the bar is held at two points rather than one and hangs square instead of swinging.\u003c\/p\u003e\n  \u003cp\u003eThat twin-channel geometry is why it handles tools. A single magnetic strip grabs one point and lets everything pivot; two lines set apart hold a chisel, a driver, a rule or a plier by its length, so a row stays a row.\u003c\/p\u003e\n  \u003cp\u003eIt is a heavier section than most magnetic strips. The bar has real depth front to back, the edges are rolled rather than folded, and the whole thing has the weight in the hand of a piece of architectural trim rather than a kitchen accessory.\u003c\/p\u003e\n  \u003cp\u003eThe KÜCHENPROFI mark is etched into the centre of the brushed panel: the name set in a rectangular band across a diamond outline. It is light-etched rather than printed, so it reads as a change of texture in the brushing rather than as a graphic laid over it.\u003c\/p\u003e\n  \u003cp\u003eTwo countersunk screws pass through the centre panel to the wall, set well in from the ends. Both ends are closed with a dark moulded cap that finishes the extrusion and sits flush.\u003c\/p\u003e\n  \u003cp\u003eThe finish is a fine linear brush running the length of the bar, with the polished edge lips left bright against it. It is shown mounted, which is the only way to judge a piece like this: it sits close to the wall, casts almost no shadow, and reads as a line rather than as an object.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eKüchenprofi is a Solingen house, and the mark on this bar dates the object more precisely than the object could date itself.\u003c\/p\u003e\n  \u003cp\u003eThe firm was founded in Solingen in 1923 by Artur Schmitz, and for its first two generations it was not a maker at all. It supplied the restaurant trade, then grew into a wholesaler importing foreign brands that were not otherwise sold in Germany. It had no consumer brand of its own and no logo of this kind.\u003c\/p\u003e\n  \u003cp\u003eThat changed in 1988. The third generation, under Stefan Schmitz, launched the company’s own manufacturer brand and created both the Küchenprofi name and a new logo to carry it. Everything marked Küchenprofi belongs to that programme and to the years after it; nothing made before 1988 carries this name at all. The company moved to its present Solingen headquarters in 1990 and has since gathered Zassenhaus, Cilio and Spring under the same group.\u003c\/p\u003e\n  \u003cp\u003eThe upper end comes from the mark itself and from the catalogue. The diamond device etched into this bar is the older Küchenprofi identity; the firm’s current mark is a plain wordmark with no enclosing shape, and the magnetic rack is no longer part of the range. The 18\/10 rack in this pattern was in American distribution by the early 2000s, sold as a fourteen-inch bar in eighteen-ten stainless. On that evidence it is offered as c. 1988–2010.\u003c\/p\u003e\n  \u003cp\u003eThe reason a piece like this survives so well is the alloy. 18\/10 is eighteen per cent chromium and ten per cent nickel, and the nickel is what makes the difference: it holds the passive layer against salt, acid, steam and damp far better than the cheaper 18\/0 used in most magnetic strips, which is why this bar has no pitting and no rust bloom after a working life.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eWall-mounted twin-channel magnetic rack in stainless steel, for hand tools or blades\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eKüchenprofi, Solingen, Germany (frequently written Kuchenprofi without the umlaut in American distribution)\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMark\u003c\/td\u003e\n\u003ctd\u003eKÜCHENPROFI in a rectangular band across a diamond outline, light-etched into the centre of the brushed panel\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003e18\/10 stainless steel — eighteen per cent chromium, ten per cent nickel\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eExtruded bar with a brushed centre panel and polished rolled edge lips; concealed magnets behind a recessed channel top and bottom, so anything hung is held at two points; moulded end caps; two countersunk wall screws\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eHolds\u003c\/td\u003e\n\u003ctd\u003eChisels, drivers, pliers, rules, scrapers, wrenches, layout tools and multi-tools over a bench; knives, shears, a steel, a peeler or a fish spatula in a kitchen\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 14 in long, approximately 2 in wide, approximately ½ in deep\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1988–2010. The Küchenprofi name and logo were created in 1988, when the firm launched its own manufacturer brand after sixty-five years as a supplier and wholesaler, so no piece carrying this mark predates that year. The diamond device is the older identity — the current company mark is a plain wordmark with no enclosing shape — and the rack has since left the catalogue, having been in American distribution by the early 2000s.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent and fully serviceable. The magnets hold across the full length, both channels are clear and undented, and the bar is straight with no bow. The brushed finish carries light surface scratching consistent with steel having been laid on and lifted off, heaviest across the centre panel, and there is faint dulling around the two screw heads. No pitting, no rust, no corrosion anywhere. Both end caps are present. The etched mark is complete and legible. Shown mounted, with the two original screws in place. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eOver a bench, this solves the problem every workshop has: the tools you reach for forty times a day are the ones that end up in a heap.\u003c\/p\u003e\n  \u003cp\u003eA drawer buries them and dulls their edges against each other. A pegboard needs a hook cut for every shape and locks you into that layout forever. A magnetic bar takes whatever you put on it, in whatever order you happen to want this week, and gives it back in one motion. Chisels, drivers, pliers, a combination square, a rule, a scraper, a multi-tool. Put a tool back by touching it to the steel.\u003c\/p\u003e\n  \u003cp\u003eThe twin channels are what make it work for tools rather than just blades. Two lines of magnets set apart hold an object along its length, so a chisel hangs plumb and a plier does not swing out and knock its neighbour when you take the one beside it. A single strip cannot do that.\u003c\/p\u003e\n  \u003cp\u003eThe 18\/10 is the other reason to want this one. Most magnetic racks are 18\/0, and in a shop — damp, solvent, swarf, hands — 18\/0 eventually speckles and streaks. This one has been in service and shows no pitting at all.\u003c\/p\u003e\n  \u003cp\u003eIt does the kitchen job just as well, which is what it was sold for. Knives kept on a bar stay sharp longer than knives in a block, because a block drags the edge across wood every time a knife goes in or comes out and a magnet only ever touches the flat of the blade. Shears, a steel, tongs and a bench scraper all hold.\u003c\/p\u003e\n  \u003cp\u003eVisually it disappears in the right way. Brushed steel against plaster, brick, tile or dark timber reads as a horizontal rule, and what you actually see is the row of steel hanging off it. Over a workbench that is a considerably better-looking wall than a pegboard.\u003c\/p\u003e\n  \u003cp\u003eOn mounting. It wants two solid fixings — studs, or plugs rated well above the weight of what you intend to hang, because a loaded bar carries more than people expect. Set it at a height that clears the bench or the worktop and leave room above for the lift-off motion. Keep it out of direct spray.\u003c\/p\u003e\n  \u003cp\u003eOn care. Wipe along the brush direction, never across it; a soft cloth with a little neutral cleaner is all it needs. Do not use abrasive pads or chlorine-based cleaners on 18\/10 — the brushing is a finish, not a coating, and it will not come back once it is cut through.\u003c\/p\u003e","brand":"La Rue Tool \u0026 Supply Co","offers":[{"title":"Default Title","offer_id":48065215070313,"sku":"VE-1630","price":203.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/E8EBD5A0-2C96-4C52-94C2-FDBAEBE058F2.jpg?v=1789515133"},{"product_id":"walter-hinchman-refinished-antique-tool-chest-on-casters-c-1910-1935","title":"Walter Hinchman Refinished Antique Tool Chest on Casters, c. 1910–1935","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eThis is Walter Hinchman’s tool chest. He found it, he refinished it, and it is offered here from his own bench under La Rue Tool \u0026amp; Supply Co.\u003c\/p\u003e\n  \u003cp\u003eAn antique flat-top chest, banded and riveted in steel over solid timber, fitted inside as a working tool chest and taken to black on red casters. It rolls, it closes true, and it holds a full kit where every piece of it is visible at once.\u003c\/p\u003e\n  \u003cp\u003eThe carcass is solid wood, bound at every edge and corner in steel strapping set with domed rivets. The corner caps are stamped with a scalloped outline; the lock plate is embossed and carries its keyhole; two spring draw-latches flank it, and a hasp and staple sit centre for a padlock. Heavy wire bail handles hang from pressed steel plates at both ends. The front panel is framed with applied moulding.\u003c\/p\u003e\n  \u003cp\u003eThe fit-out is the reason to want it. The lid carries two fitted shelves. Below them, a third tier is divided into three compartments and fronted by a sawtooth rail of some eighteen slots, made to stand saw blades upright and apart.\u003c\/p\u003e\n  \u003cp\u003eAcross the full width above that runs a sprung steel wire on eye hooks, drawn taut. Screwdrivers, files, chisels, rules — anything with a shaft slides behind it and stays put when the lid swings.\u003c\/p\u003e\n  \u003cp\u003eMounted on the face is a stainless twin-channel magnetic bar, marked Küchenprofi of Solingen, which takes wrenches, pliers, drivers and small steel straight off the wood.\u003c\/p\u003e\n  \u003cp\u003eThe body holds a full-length lift-out till, painted black inside, riding on rails over a deep open well. A chain stays the lid; a swivel catch holds it shut.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003eTwo things are going on in this chest, and they are worth separating: what it was made as, and what it has been made into.\u003c\/p\u003e\n  \u003cp\u003eThe shell is trade-standard American chest construction. A flat top rather than a domed one, solid timber bound in steel strapping at every edge, domed rivets set close along the bands, stamped decorative corner caps, an embossed escutcheon with a keyhole, spring draw-latches either side, and wire bail handles on pressed plates. That combination is the pattern American makers settled on once the domed trunk gave way to the flat top around the turn of the century, and it held through the interwar decades. On that hardware it is offered as c. 1910–1935.\u003c\/p\u003e\n  \u003cp\u003eFlat tops mattered because flat tops stack. A domed trunk is a single object; a flat one is a module, and once goods moved by rail and truck rather than by porter, everything went flat.\u003c\/p\u003e\n  \u003cp\u003eThe interior is a different story. Saw tills cut into a rail, a sprung wire across the width, graded shelving and a lift-out till are not luggage fittings. They are a joiner’s chest fit-out, and someone put them into this shell to carry a working kit. Whether that happened when the chest was new or later in its life, it was done by hand and it was done to be used.\u003c\/p\u003e\n  \u003cp\u003eThat is the older tradition at work here. A tradesman’s chest was a personal object, fitted by its owner to his own tools, and the fitting-out was a piece of craftsmanship in its own right. Saws stood in slots so their teeth touched nothing. Edge tools lay separate. Everything had one place, and a glance at the end of a job told you whether anything had walked off.\u003c\/p\u003e\n  \u003ch3\u003eThe Refinish\u003c\/h3\u003e\n  \u003cp\u003eThe work on this chest is Walter Hinchman’s, done at his own bench in Reno, and it is described here plainly because the authorship is part of what is being offered.\u003c\/p\u003e\n  \u003cp\u003eIt came out of the find brick red — a hard, unsympathetic red over every surface, inside and out, that flattened the ironwork and buried the timber.\u003c\/p\u003e\n  \u003cp\u003eThe exterior is now matte black across the wood with gloss black on the banding, the rivets and the hardware. The two sheens are the whole decision: the flat ground absorbs light and the gloss ironwork throws it, so the strapping, the domed rivet heads and the stamped corner caps read as line and shadow rather than as applied metal. The grain of the timber still comes through the black, which is why it reads as a chest rather than as a painted box.\u003c\/p\u003e\n  \u003cp\u003eInside, almost nothing was touched. The original dark surface is there, the scratches and gouges of a working life are there, and the earlier brick red still shows along the edges, in the recesses and behind the tills. The ghost of an oval paper label remains on the underside of the lid, its maker long gone from it. Leaving that alone was the point: the outside has been taken somewhere new, and the inside is exactly as a century of work left it.\u003c\/p\u003e\n  \u003cp\u003eFour swivel casters with red wheels were added underneath — the one warm note on an otherwise black object, and a deliberate echo of the red still living in the corners inside. They lift the chest to a working height and let it move loaded, with one hand.\u003c\/p\u003e\n  \u003cp\u003eThere is an impressed mark in the timber beside the lock plate, now beneath the black. It does not resolve in photographs and no maker is claimed here.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eAntique flat-top banded chest fitted as a tool chest, refinished, on casters\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eRefinished by\u003c\/td\u003e\n\u003ctd\u003eWalter Hinchman, Reno, Nevada, for La Rue Tool \u0026amp; Supply Co\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eSolid timber bound in steel strapping at every edge and corner with domed rivets; stamped corner caps; embossed lock plate with keyhole; two spring draw-latches; hasp and staple; wire bail handles on pressed steel plates; applied moulding to the front panel\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eFit-out\u003c\/td\u003e\n\u003ctd\u003eLid: two fitted shelves; a third tier in three compartments fronted by a sawtooth rail of some eighteen saw slots; a sprung steel tool wire on eye hooks across the full width; a stainless twin-channel magnetic bar marked Küchenprofi, Solingen. Body: full-length lift-out till on rails over a deep well. Lid stay chain and swivel catch.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eMatte black on the timber, gloss black on the banding, rivets and hardware. Interior left original, with the earlier brick red showing through at the edges, in the recesses and behind the tills.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCasters\u003c\/td\u003e\n\u003ctd\u003eFour swivel casters with red wheels, added\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eAn impressed mark in the timber beside the lock plate, now beneath the refinish and not legible in photographs. The ghost of an oval paper label remains inside the lid. No original maker is identified and the chest is offered unattributed as to manufacture.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 36 in long, approximately 17 in deep, approximately 18 in high, approximately 21 in high on the casters\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1910–1935, on the hardware. The flat top, the riveted steel edge banding, the stamped scalloped corner caps, the embossed escutcheon, the paired spring draw-latches and the wire bail handles on pressed plates are the American pattern that followed the domed trunk from about the turn of the century and held through the interwar decades. The interior tool fit-out is hand work and may be original to the chest or later; it is not dated separately here. The refinish is contemporary and is Walter Hinchman’s.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eStructurally sound and in working order. The carcass is square, the lid closes true, the hinges are solid and the stay chain is intact. Both draw-latches operate and the swivel catch holds. The lock plate is present with its keyhole; no key is supplied and the lock is not represented as working. The refinished exterior is even and complete, with the texture of the original timber and the ironwork reading through it. Inside, the original surfaces are as found and honest: scratches, gouges, dents, paint loss and the marks of long use, with brick red showing at the edges. Some splitting and fibre loss along one interior rail where the wire is anchored. All shelves, the saw rail, the tool wire, the magnetic bar and the lift-out till are present and secure. The casters roll freely and are firmly fixed. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eThis is the rare object that is furniture and equipment at once, and concedes nothing on either side.\u003c\/p\u003e\n  \u003cp\u003eClosed, it is a long black chest on castors: a low table that swallows what a living room accumulates, a bench at the foot of a bed, a console behind a sofa, a hall seat with boots inside it. Matte black with the ironwork picked out in gloss reads as architecture rather than as brown antique furniture, which is why it sits as easily in a modern room as in an old one.\u003c\/p\u003e\n  \u003cp\u003eOpen, it is a fully fitted tool chest most tradespeople would be glad to own. Saws upright and apart, drivers and files behind the wire, wrenches on the magnet, the till for small parts, the well for the heavy things.\u003c\/p\u003e\n  \u003cp\u003eThat visibility is the practical argument for a fitted chest over a stack of drawers. A drawer hides its contents and invites you to fill it with things you will never find again. A chest like this shows you everything at once, which is how a kit stays a kit.\u003c\/p\u003e\n  \u003cp\u003eThe casters change what it is. A loaded tool chest is a two-person lift; on wheels it is a one-hand push. Roll it to the work, roll it back to the wall, roll it clear when the car comes in.\u003c\/p\u003e\n  \u003cp\u003eIt is not only for tools. The same fit-out takes brushes and art materials, photographic gear, a knife roll and kitchen kit, fishing tackle, model-making, leatherwork, or a guitar tech’s road kit — anything where many small hard objects need one place and fast retrieval.\u003c\/p\u003e\n  \u003cp\u003eAnd it carries an authorship most antiques do not. A century-old trade chest, found and brought back by hand, its outside reconsidered and its inside left untouched. You open it and the original brick red is still sitting in the corners. Very few pieces let you see two lives at once.\u003c\/p\u003e\n  \u003cp\u003eOn placement. It wants a floor it can roll on and clearance in front to open, since the lid throws back rather than up. Under a window, against brick or plaster, or at the end of a bench it looks correct.\u003c\/p\u003e\n  \u003cp\u003eOn care. Wipe the exterior with a dry or barely damp cloth; matte black shows water marks and wants no polish or wax. Leave the interior entirely alone — the original surface and the brick red are the point, and cleaning them back is the one thing that would cost this chest its value. Keep it dry and out of standing damp, and give the caster swivels a drop of oil once a year.\u003c\/p\u003e","brand":"La Rue Tool \u0026 Supply Co","offers":[{"title":"Default Title","offer_id":48065497268329,"sku":"VE-1632","price":2188.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/F802B411-A7C7-477A-BEFC-7D63AF8E145D.jpg?v=1789517610"},{"product_id":"vintage-refinished-fir-plywood-carpenters-tool-tote-c-1920-1945","title":"Vintage Refinished Fir Plywood Carpenter's Tool Tote, c. 1920–1945","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA carpenter's tote of the oldest and plainest kind: two gabled end boards, long sides, a turned dowel running the full length between the peaks for a handle, and an open top so everything inside can be seen and grabbed at once. Twenty-five inches end to end and nine across.\u003c\/p\u003e\n\u003cp\u003eThe sides are rotary-cut Douglas fir plywood, and they are the reason to look twice. Rotary cutting unwinds the log against a blade rather than slicing across it, which produces the enormous swirling cathedral figure running the length of each panel. Under finish it reads like flame-figured exotic hardwood rather than what it actually is, which is shop sheet stock. The end boards are a different surface entirely, heavy vertical grain with burl-like eyes and open checking, with the raised weathered texture left legible under the finish rather than sanded flat.\u003c\/p\u003e\n\u003cp\u003eInside, a spine board runs the length below the handle, and cross partitions divide the space into square compartments down both sides, with an open bay at each end for longer tools. The nail heads through the sides stand out bright silver against the dark wood.\u003c\/p\u003e\n\n\u003ch3\u003eThe Refinish\u003c\/h3\u003e\n\u003cp\u003eThis one was refinished in our own workshop at Viridian Eclection. Walter Hinchman sanded it, took steel wool to it and brought the finish up, and the result is the deep orange-red gloss it now carries. The bright nail heads are part of that: they are the original nailing, polished up by the steel wool rather than replaced, so the box is fastened exactly as its maker left it and simply looks it again.\u003c\/p\u003e\n\u003cp\u003eThe judgement call was what to leave alone. The checking in the end boards, the raised grain, the broken notch out of one partition edge and the small loss at a top rail are all still there. Sanding those out would have produced a smoother box and a duller one, and the figure in the plywood is doing more than enough work without help.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eA tote like this was never bought. It was built on a bench by the man who was going to carry it, out of whatever offcuts were within reach, sized to the tools he actually used and the distance he actually walked. That is why the compartments are the sizes they are and why no two of these are alike. It is the humblest object in a working shop and usually the one that outlives everything else in it.\u003c\/p\u003e\n\u003cp\u003eThe material sets the earliest this can be, and it is a hard limit. Douglas fir plywood is a twentieth-century American product: commercial production began in Oregon in the first decade of the century, and fir sheet was in ordinary shop and cabinet use through the nineteen-twenties. A box built from it cannot predate that, and no argument moves it earlier. Everything above that floor is shop work rather than manufacture: nailed butt joints throughout, no screws and no hardware of any kind, a scavenged turned dowel doing duty as a handle, and no maker's mark or model number anywhere. There is no particleboard, no MDF, no production fittings and no plywood grade stamp on it, and those absences carry a ceiling only. On that evidence it is offered as c. 1920 to 1945.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eVintage, offered as c. 1920 to 1945 on material and construction evidence\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eRefinished\u003c\/td\u003e\n\u003ctd\u003eIn the Viridian Eclection workshop by Walter Hinchman\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eOpen carpenter's tote with a full-length dowel handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eRotary-cut Douglas fir plywood sides, solid gabled end boards, nailed butt joints, internal spine board with cross partitions\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eInterior\u003c\/td\u003e\n\u003ctd\u003eSquare compartments down both sides of a central spine, with an open bay at each end\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eRefinished in a deep orange-red gloss. Original nail heads polished bright with steel wool, not replaced\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone present\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e25 in. long by 9 in. wide; approx. 12 in. high to the top of the handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound, square and ready to carry or display. Retained from its working life: open checking in the end boards, a notch broken from one partition edge, a small loss at a top rail, old nail holes and raised grain. Refinished throughout.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eQuantity\u003c\/td\u003e\n\u003ctd\u003eOne, as shown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eThe figure is the argument. Ordinary fir plywood, finished properly, produces a wild flame grain that most people assume has to be an expensive tropical timber, and there is twenty-five inches of it running down each side of this box. It photographs extremely well and it holds a room.\u003c\/p\u003e\n\u003cp\u003eIt works as a runner down the centre of a dining table holding candles and greenery, on a kitchen counter for oils and utensils, on a bathroom shelf, on a desk, or in an entry for keys, mail and gloves. The compartments make it useful in a way an empty bowl never is, and the handle means it moves to wherever it is needed. It also still does the job it was built for, which is worth something.\u003c\/p\u003e","brand":"La Rue Tool \u0026 Supply Co","offers":[{"title":"Default Title","offer_id":48069466652777,"sku":"VE-1646","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/6BB26CE0-B936-4074-9775-2E2D9C7DD040.jpg?v=1789605752"},{"product_id":"vintage-red-rubber-coated-steel-fishing-rod-rack-c-1955-1980","title":"Vintage Red Rubber-Coated Steel Fishing Rod Rack, c. 1955–1980","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA formed steel rack finished in thick red rubber. The base is a rectangular plate with one long edge turned down into a skirt, so it stands slightly proud of whatever it is set on. Two identical formed bars run across it in parallel, each rising into a pair of humps with a valley between them, and each is held down by two wing nuts on threaded studs passing through slotted feet. The slots let the bars slide, so the spacing between them sets to whatever is being held.\u003c\/p\u003e\n\u003cp\u003eThe finish is a dip coating rather than a spray. It is thick, evenly glossy, rounded over every edge and free of overspray, seams or brush marks, which is what happens when a steel part is lowered into the coating and drawn out. The colour is a saturated commercial red with nothing subtle about it.\u003c\/p\u003e\n\u003cp\u003eThe hardware is the opposite. Wing nuts, studs and washers are bare steel, uncoated and gone orange with rust, and the contrast between the four rusted wing nuts standing up out of a bright red field is most of what makes the object look the way it does.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe construction explains the purpose better than any label would. Steel is doing the structural work and the rubber is doing something else entirely: gripping, and protecting whatever is clamped against it. Anything passing under those arches is held between rubber above and rubber below, which is firm enough not to shift and soft enough not to mark. Nobody goes to the expense of dip-coating a bracket unless the thing it holds has a finish worth protecting.\u003c\/p\u003e\n\u003cp\u003eThat is why it reads as a rack for fishing rods and lines. A rod blank is finished, flexible and easily scuffed, and bare metal cradles would ruin one. The same logic explains the adjustable spacing, since rods vary in diameter along their length and the bars need to set to the section being carried.\u003c\/p\u003e\n\u003cp\u003eNothing on the piece names its maker or its purpose. There is no stamp, no model number, no patent line and no country of origin, and a dip coating would bury a stamped mark in any case. The function above is offered on the evidence of the form and the material rather than on documentation.\u003c\/p\u003e\n\u003cp\u003eThe dating rests on the coating. Dip-coating formed steel in rubber and vinyl is a postwar American process, in general use across consumer and sporting goods from the nineteen-fifties, and a part finished this way cannot predate it. Above that floor the piece carries no moulded plastic component, no printed or applied label and no origin marking, and those absences give a ceiling only. On that evidence it is offered as c. 1955 to 1980.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003eVintage, offered as c. 1955 to 1980 on construction evidence\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eTwo-bar rack with adjustable spacing; understood as a fishing rod and line rack, unmarked\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eFormed steel base and bars, dip-coated in rubber; bars mounted on slotted feet and clamped by wing nuts on threaded studs\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSteel with a red rubber dip coating; bare steel hardware\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone present\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApprox. 7 in. by 6 in. at the base; approx. 3 in. high to the top of the wing nuts\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and complete, all four wing nuts present and turning. Rubber coating intact, glossy and unsplit, with light marking. Rust throughout the exposed steel hardware. Offered as a decorative and collecting piece.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eQuantity\u003c\/td\u003e\n\u003ctd\u003eOne, as shown\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eIt looks like a sculpture and it was not meant to. Two red waves rising off a red plate, with four rusted wing nuts standing up out of them like pins, is a composition nobody designed for looks, and that is exactly why it works on a shelf. The red is loud and the rust is quiet, and the two hold each other in balance.\u003c\/p\u003e\n\u003cp\u003ePut it on a bookshelf, a desk, a bar or a windowsill where the profile can be seen from the side, which is where it reads best. It still does its job, so it will hold rods, dowels, brushes, rolled paper or anything else you want gripped and not scratched.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48073762242665,"sku":"VE-1652","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/8C7E9393-1704-41BC-8205-729DD17B2902_4_5005_c.jpg?v=1789648530"},{"product_id":"antique-gilt-metal-jewelry-casket-reticulated-rose-lid-c-1900-1925","title":"Antique Gilt Metal Jewelry Casket, Reticulated Rose Lid, c. 1900–1925","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small oval jewel casket in cast white metal under a gold wash, standing on four scrolled cabriole feet. The body is a shallow drum with a finely stippled ground between beaded rims, set into a deep apron cast with rococo shells and scrollwork. The hinged lid carries a reticulated panel of roses, daisies and trailing foliage inside a beaded border, with a raised oval cartouche at the centre ringed in beading. Red fabric shows through the piercings from below, so the flowers read gold against red.\u003c\/p\u003e\n\u003cp\u003eThe lid is hung on a multi-knuckle pin hinge worked into the back of the casting, and it closes square. Lid and body each carry their own fitted red velvet pad, two separate linings rather than one. The inside of the casting is left as bare pale metal, the gold wash having been applied to the show surfaces only.\u003c\/p\u003e\n\u003cp\u003eThe central cartouche is blank and unengraved, and the gold has gone from it entirely, down to bare grey-white metal with fine surface scratching. The same has happened at the foot tips and along the lid rim. There is a short casting line at the right edge of the cartouche where the applied piece meets the pierced panel. Nothing is missing.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThat blank oval is the key to what this is. Jewel caskets of this specification were sold through jewellers and department stores with the centre cartouche left plain so the retailer could engrave the recipient's monogram, which is why so many survive blank: they were bought and given without the engraving ever being ordered. A purely decorative box has no reason to carry a smooth, beaded, undecorated oval in the middle of an otherwise busy lid.\u003c\/p\u003e\n\u003cp\u003eThe rest of the specification belongs with it. Cast white metal under a gold wash, gilded on the show surfaces and left bare inside; a pin hinge worked into the casting rather than a plate screwed on; separately made and fitted velvet pads for lid and body; a reticulated flower lid backed with coloured fabric; a cast rococo apron with integral scroll feet. This is the standard build of the small jewel casket as the trade produced it either side of 1900, in white metal for the popular price point and in gilt bronze for the carriage trade.\u003c\/p\u003e\n\u003cp\u003eNo maker's mark is visible on any surface photographed, and the underside has not been examined. An absence of a mark sets a ceiling and never a floor, so the case here rests on the specification rather than on documentary evidence. On that evidence it is offered as c. 1900–1925. Makers working in this line commonly stamped a model number on the base, and that would settle it.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eOval hinged jewel casket\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eCast white metal with gold wash, velvet linings\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eLid\u003c\/td\u003e\n\u003ctd\u003eReticulated rose and foliage panel over red fabric, blank monogram cartouche at centre\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHinge\u003c\/td\u003e\n\u003ctd\u003eMulti-knuckle pin hinge cast into the body\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFeet\u003c\/td\u003e\n\u003ctd\u003eFour cast scroll feet\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\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone visible on the surfaces examined\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eLength\u003c\/td\u003e\n\u003ctd\u003e3.25 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWidth\u003c\/td\u003e\n\u003ctd\u003e2.75 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e2 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound, hinge working, lid closing square. Gold wash bright across the relief with wear through to bare metal on the central cartouche, the foot tips and the lid rim. Short casting line at the edge of the cartouche. Velvet linings clean and intact. No losses or repairs.\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\u003eSmall gold boxes earn their place by being useful every day. This one sits on a dresser or a bathroom shelf and takes the rings that come off at night, and it looks like an heirloom while doing it. The red behind the pierced flowers is what makes it, a warm glow under the gold that photographs far better than a plain lid ever would.\u003c\/p\u003e\n\u003cp\u003eThe blank cartouche is an invitation. It was left for a monogram a hundred years ago and never filled, so it is still available to whoever wants it engraved now.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48075774951529,"sku":"VE-1657","price":612.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/282BE51E-C33F-4B32-AB7D-6F6FFDC720A7.jpg?v=1789730469"},{"product_id":"antique-brass-acanthus-wall-shelf-bracket-no-glass-c-1890-1930","title":"Antique Brass Acanthus Wall Shelf Bracket, No Glass, c. 1890–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA wall bracket for a glass shelf, made in brass. The frame is a long shallow open rectangle: a plain flat bar along the back that lies against the wall and takes the fixing screws, plain returns at each end, and a front rail carrying the ornament. From the middle of the front rail a flat brass strap runs back and down to the wall as the load brace, finishing below in a cast leaf terminal.\u003c\/p\u003e\n\u003cp\u003eThe ornament along the front is a run of cast acanthus scrolls, each a deep C-scroll breaking into a curled leaf, set one after another with short lengths of bare flat bar showing between them. They stand well proud of the rail and the undercutting is deep enough to throw its own shadow.\u003c\/p\u003e\n\u003cp\u003eThe brass is unlacquered and has aged accordingly: darkened in the recesses and along the underside, rubbed bright gold on the crown of every scroll where hands and cloths have reached. Castings are crisp throughout with the leaf veining still sharp. Nothing is bent, broken or missing, and the frame sits flat to a wall.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is the bracket only. A glass shelf panel drops into the frame and rests on the inner lip of the rail; the scroll band along the front is a gallery, there to stop objects sliding off and to conceal the raw edge of the glass. The glass is not present, and that is stated plainly rather than buried: what is offered is the complete brass bracket, ready to take a new panel. Replacing it is straightforward. The inner dimensions go to any glass shop and a quarter-inch plate panel with polished edges is cut to fit. The frame is the part that cannot be replaced, and it is intact.\u003c\/p\u003e\n\u003cp\u003eThe construction is the interesting part, and it is bench work rather than production. The acanthus gallery is not one continuous casting. It is a run of separate cast scroll-and-leaf units, each soldered onto a plain flat brass bar, with short lengths of bare bar still visible between them where the castings stop and start. The side arms and the diagonal brace are fabricated from flat stock and joined by hand. A decorative bracket made to a price is cast in one or two pieces; this one was assembled at a bench from a dozen.\u003c\/p\u003e\n\u003cp\u003eThe castings themselves are deep and crisply undercut, with the leaf veining and the scroll volutes still sharp, and the brass is unlacquered. It has darkened in the recesses and rubbed bright on the high points, which is how bare brass ages when nothing is sealing it.\u003c\/p\u003e\n\u003cp\u003eThe form is that of a washstand or bathroom glass shelf bracket, a standard fitting in well-appointed houses from the last decades of the nineteenth century into the interwar years: a brass frame screwed to the wall above a basin or a dressing table, carrying a plate-glass shelf. That is what it is for, and it explains every part of it, including the diagonal brace that carries the load back into the wall.\u003c\/p\u003e\n\u003cp\u003eNo maker's mark or foundry stamp is visible on any surface photographed. On the construction and the form together it is offered as c. 1890–1930. The screws it was originally hung with would narrow it further, as would the type of solder at the ornament joints.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eWall-mounted glass shelf bracket\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eUnlacquered brass, cast ornament soldered to fabricated flat-bar frame\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrnament\u003c\/td\u003e\n\u003ctd\u003eSeparately cast acanthus scroll units soldered along the front rail; cast leaf terminal to the brace\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMounting\u003c\/td\u003e\n\u003ctd\u003eTwo screw holes through the flat back bar; diagonal brace from the front rail to the wall\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eGlass\u003c\/td\u003e\n\u003ctd\u003eNot included. A panel cut to the inner dimensions drops in and rests on the rail lip\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1890–1930\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone found on the surfaces examined\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWidth\u003c\/td\u003e\n\u003ctd\u003e24 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDepth\u003c\/td\u003e\n\u003ctd\u003e8 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e10 in. including the brace terminal\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and straight, castings crisp, no breaks or losses to the ornament. Warm brass with darkened recesses and bright wear on the scroll high points. Sold as the brass bracket only, without glass.\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\u003eOrnate brass over a sheet of glass is a very particular effect: the shelf disappears and the scrollwork appears to float against the wall with whatever is standing on it. That is why these were made, and it still works.\u003c\/p\u003e\n\u003cp\u003eIt is the right scale for a powder room, a hallway, or above a console where a run of two feet of ornament earns its place. Fitted with new glass it is a finished piece; left as it is, it is a cast brass wall ornament in its own right.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48080739827817,"sku":"VE-1665","price":570.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/99509CBD-754E-4148-96C1-4A705CB1E520.jpg?v=1789742095"},{"product_id":"vintage-holiday-designs-avocado-drip-glaze-tea-canister-c-1964-1982","title":"Vintage Holiday Designs Avocado Drip Glaze Tea Canister, c. 1964–1982","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA lidded ceramic tea canister in the olive-avocado drip glaze that defined American kitchens for about fifteen years. The body is a plain straight-sided cylinder. The lid is a wide dome rising to a squat mushroom knob, with a deep flange underneath that drops down inside the jar and seats it firmly.\u003c\/p\u003e\n\u003cp\u003eThe glaze is what carries it. Glossy olive over a cream body, running darker as it moves, so it breaks to a smoky brown-black along the rim, across the shoulder of the lid and around the lower edge where it pooled and ran. Fine dark specks are suspended all through it. The whole surface carries a close network of crazing with age settled into the lines, the kind you only get from decades rather than from a finish.\u003c\/p\u003e\n\u003cp\u003eTEA is lettered across the front in a tall narrow serif in near-black, set large enough to fill most of the width of the jar. It is the only decoration on the piece and it does not want for any more.\u003c\/p\u003e\n\u003cp\u003eLow on the wall near the foot, impressed into the clay and glazed over, the piece is marked \u003cem\u003eholiday designs\u003c\/em\u003e in lower case with \u003cem\u003eH4019\u003c\/em\u003e and a copyright symbol beside \u003cem\u003eU.S.A.\u003c\/em\u003e The underside of the lid carries a separate mould number, 2484.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe mark settles this, which is better than dating it by its colour.\u003c\/p\u003e\n\u003cp\u003eHoliday Designs was a pottery in Sebring, Ohio, on South 12th Street at Baugh Avenue. Eugene T. Meskill bought the plant in 1964 and gave it that name, and it produced canisters, cookie jars, teapots and accessory ware for the kitchen and gift trade. Meskill held it until 1982, when it was sold to Designer Accents of New Jersey, which was itself later bought by Richard C. Durstein of Pittsburgh. In the consolidation that followed, the lower-priced Holiday Designs lines were discontinued. Anything carrying this mark was therefore made between 1964 and 1982, and that is the date offered here.\u003c\/p\u003e\n\u003cp\u003eThe glaze narrows it further within that run. Avocado green, alongside harvest gold, ran American kitchens from roughly the middle 1960s until the end of the 1970s, on appliances, countertops, linens and every piece of housewares that could be made in it. It arrived with the shift away from the clinical white and pastel kitchens of the 1950s, saturated the market through the early seventies, and was gone by about 1980, displaced by almond and a return to white. A canister in this exact olive belongs to the middle of the Holiday Designs run rather than either end of it.\u003c\/p\u003e\n\u003cp\u003eThe drip glaze is the other half of the story. Flowing glazes that run and pool and break dark at the edges are very old, and American art potteries had been chasing them since the turn of the century, but by the 1960s the effect had been industrialised and turned out at volume for exactly this trade. The result is a piece that looks handmade at arm's length and reveals itself as production ware when you pick it up. That is not a criticism. It is precisely why so much of it was bought and why it reads so well now.\u003c\/p\u003e\n\u003cp\u003eIt is also a survivor on its own. Canisters were sold in graduated sets, usually flour, sugar, coffee and tea, and the tea canister is the smallest and the one most likely to be separated from its siblings over fifty years of kitchens and moves. Finding one intact with its correct lid is more of a coincidence than it sounds.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eLidded ceramic kitchen canister\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eHoliday Designs, Sebring, Ohio\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eGlaze\u003c\/td\u003e\n\u003ctd\u003eGlossy olive-avocado drip glaze breaking dark brown at rim, shoulder and foot\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eLettering\u003c\/td\u003e\n\u003ctd\u003eTEA across the front in a tall narrow serif, near-black\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1964–1982\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eholiday designs, H4019, copyright symbol and U.S.A. impressed near the foot; mould number 2484 on the underside of the lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e8.5 in. with the lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDiameter\u003c\/td\u003e\n\u003ctd\u003e5 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and complete with its original lid, which seats correctly. Crazing throughout the glaze with age darkening in the lines, which is expected and not a flaw in a piece of this date. No chips, cracks or restoration found. The unglazed base carries iron staining and kiln deposits from firing. Interior clean.\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\u003eAvocado has come all the way back around, and this is the honest version of it rather than a reproduction reaching for the look. The glaze does the work: warm olive that turns almost black where it ran, glossy enough to catch a kitchen light, and a colour that sits beautifully against wood, brass, cream ceramic and terracotta.\u003c\/p\u003e\n\u003cp\u003eUse it. It holds tea, coffee beans, sugar or utensils, and the flanged lid seats tightly enough to keep it honest. Failing that, it is a good-looking object on an open shelf that happens to have a lid.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48085479653481,"sku":"VE-1672","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/IMG_4799.jpg?v=1789791159"},{"product_id":"vintage-california-pottery-embossed-fruit-cookie-jar-c-1945-1960","title":"Vintage California Pottery Embossed Fruit Cookie Jar, c. 1945–1960","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA California pottery cookie jar in a bright chrome-yellow glaze, moulded in relief with a still life of fruit that wraps most of the way around the body. A heavy bunch of grapes sits at the centre, a pineapple with its spiked crown beside it, a pear and a peach below, a husk of corn at the right, and leaves and curling tendrils filling the gaps. Every element stands proud of the ground and has then been tinted by hand, so the grapes carry an olive wash, the pineapple a deep amber, the pear and peach a warm orange that blends into the yellow, and the leaves a green that runs to blue-green at the edges.\u003c\/p\u003e\n\u003cp\u003eThe body swells out from a narrow foot ring and draws back in at the shoulder, and the rim is cut in a soft scalloped line. The lid is a shallow dome with a deep flange that drops down inside, and it is finished with a moulded fruit finial, a peach painted yellow on one cheek and red on the other with a single black stroke for the stem line.\u003c\/p\u003e\n\u003cp\u003eThe glaze is heavily crazed across the whole piece, a dense fine network with age browning settled into the lines, which shows up most clearly across the lid and the plain upper body. The interior is glazed the same yellow and is clean. The base is glazed as well, with the mark impressed into it.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe base is impressed MADE IN CALIFORNIA, and that mark is doing more work than it looks.\u003c\/p\u003e\n\u003cp\u003eCalifornia was the centre of American household ceramics for most of the twentieth century, with the Los Angeles basin as the main production region in the country. The period around the Second World War produced the greatest growth the US ceramic industry ever saw, because the war cut off the European and Japanese imports that had supplied the American market, and California potteries stepped straight into the gap. By 1948, the peak year, more than eight hundred ceramic concerns were operating in the state. Five big producers dominate the histories of the era, Vernon Kilns, J. A. Bauer, Metlox, Pacific Clay Products and Gladding McBean, but the eight hundred figure is the real story: most California pottery came from small and medium shops turning out kitchen and giftware at volume.\u003c\/p\u003e\n\u003cp\u003eIt did not last. Through the 1950s trade agreements favouring Asian manufacturing let competitively priced imports back into the American market, and only a fraction of those eight hundred potteries were still working by the early 1960s. Vernon Kilns closed in 1958 and Bauer in 1962.\u003c\/p\u003e\n\u003cp\u003eThat arc is why a jar stamps MADE IN CALIFORNIA on its base rather than a maker's name. Domestic origin was the selling proposition in exactly the years when imports were the threat, and a great many of the smaller shops marked the state rather than themselves. On the mark, the moulded and hand-tinted decoration, and the depth of the crazing, it is offered as c. 1945 to 1960. No maker's name appears anywhere on the piece and none is claimed.\u003c\/p\u003e\n\u003cp\u003eThe hand tinting is worth looking at closely. The relief came out of the mould identical every time; the colour did not. Someone sat with a brush and washed each fruit in, and the way the orange on the pear bleeds up into the yellow ground, or the green on one leaf runs bluer than its neighbour, is the record of that hand rather than a printing fault.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eLidded ceramic cookie jar\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eCalifornia, impressed MADE IN CALIFORNIA on the base\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eMoulded fruit in relief, hand-tinted over a chrome-yellow glaze\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFruit\u003c\/td\u003e\n\u003ctd\u003eGrapes, pineapple, pear, peach and corn, with leaves and tendrils\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinial\u003c\/td\u003e\n\u003ctd\u003eMoulded peach, yellow and red\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1945–1960\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eMADE IN CALIFORNIA impressed on the base. No maker's name\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e9.5 in. with the lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDiameter\u003c\/td\u003e\n\u003ctd\u003e8 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eComplete with its original lid, which seats correctly on its flange. Heavy crazing throughout with age browning in the lines, expected in an earthenware glaze of this date. There is a small chip to the edge of the lid and a shallow glaze loss on one side of the body below the rim. No cracks and no restoration found. Interior glazed and clean.\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 yellow that modern glazes do not make any more, deep and slightly acid, and against the orange and olive of the fruit it does something no amount of tasteful neutral will. On an open kitchen shelf or a dresser top it is the thing the eye goes to.\u003c\/p\u003e\n\u003cp\u003eThe crazing is part of the appeal rather than a problem to look past. It gives the surface a fine web that catches light the way old glaze does, and it is the clearest signal that this came out of a California kiln seventy-odd years ago and not off a shelf last year.\u003c\/p\u003e\n","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48085712961641,"sku":"VE-1673","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/B0B8CEB3-38AA-4999-AF09-6CCBFC2DAA8A.jpg?v=1789792193"},{"product_id":"antique-pine-two-door-cupboard-wormwood-boards-c-1875-1910","title":"Antique Pine Two-Door Cupboard in Wormwood Boards, c. 1875–1910","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small country pine cupboard built from solid boards riddled with old woodworm, with two plank doors over an open two-compartment base. Behind the doors are two fixed shelves dividing the interior into three bays, and below the door line the case continues into a pair of open cubbies split by a central divider, so the lower third stays accessible without opening anything.\u003c\/p\u003e\n\u003cp\u003eThe top is a separate board with a rounded moulded edge that oversails the case on three sides. The sides are single wide boards running the full height, and the back is solid plank laid up in wide horizontal boards with the seams showing. There is no plywood anywhere on the piece.\u003c\/p\u003e\n\u003cp\u003eThe front carries two original catches. At the top of the door gap is a hand-forged iron turn button: a flat S-scroll swinging across the gap on a square-shanked pivot. It is not a casting. The outline wanders, the thickness changes along its length, the two ends are not mirror images, and the pivot aperture is square rather than round, which is how a smith fixed a turn before round machine screws became the default. Below it is a cast openwork escutcheon of rococo scrollwork with a shaped thumb bar.\u003c\/p\u003e\n\u003cp\u003eThe wood is a warm orange-brown with strong flame figure through the door faces and the top, and the worm holes read dark against it across the whole front.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eTwo things date this cupboard, and both of them are on the front of it.\u003c\/p\u003e\n\u003cp\u003eThe older is the forged iron turn button. A smith made it, one at a time, which is why no two parts of it match. Country cupboards were fastened this way for centuries, so on its own it sets no floor. What it tells you is the kind of shop this came out of: one where the nearest blacksmith was a shorter trip than the nearest hardware catalogue.\u003c\/p\u003e\n\u003cp\u003eThe newer of the two is the one that actually dates the piece. Cast cabinet latches of this sort, an openwork escutcheon with a shaped thumb bar, only became generally available once foundries were turning out furniture hardware in volume, which happened from about 1870. Before that a cupboard of this class got a wooden turn or a smith-made iron one, because a cast latch was not a thing you could simply buy. The rococo scrollwork on it is a Victorian revival idiom, and by the Edwardian period the same fittings are noticeably plainer. That puts the latch in the last quarter of the nineteenth century or the first decade of the twentieth.\u003c\/p\u003e\n\u003cp\u003eThe construction agrees. Single pine boards wide enough to run the full height of a case side, and a back laid up in wide solid planks rather than thin panel, were ordinary while that stock was cheap and became uncommon once it was not. Commercial casework had largely moved to narrower glued-up stock by the years after the First World War.\u003c\/p\u003e\n\u003cp\u003eThen there is the worm, which is worth a paragraph because worm holes are one of the most commonly faked signals in the furniture trade. Refinishers produce them with ice picks, finishing nails and sixteenth-inch drill bits, and the giveaways are consistent: the fakes come out shallow, they sit in tidy clusters of four or five meant to imitate an emergence, and at least one edge of each hole is dull where the tool was levered back out. What is here does not read that way. The holes vary in size, the distribution is genuinely uneven across the two doors rather than following a formula, and there are elongated surface grooves where old galleries running just under the skin of the timber have broken through. Faking does not bother to reproduce those. Infestation on this scale is the work of decades.\u003c\/p\u003e\n\u003cp\u003eTaken together the cupboard is offered as c. 1875 to 1910.\u003c\/p\u003e\n\u003cp\u003eTwo honest notes on its present state. It has been refinished, so the surface is a modern one over old wood and not an original patina. And the keeper plate that the thumb bar now works into is a twentieth-century casement window catch, fitted by the current owner to make the latch close properly; the escutcheon and thumb bar it works against are original to the cupboard, as is the iron turn above. Anyone wanting the front entirely correct would swap that one keeper for a period cupboard catch, which is a ten-minute job.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eSmall country two-door pine cupboard with open base compartments\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid pine with extensive old woodworm, solid plank back, no plywood\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eStorage\u003c\/td\u003e\n\u003ctd\u003eTwo fixed interior shelves behind the doors, two open cubbies below\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHardware\u003c\/td\u003e\n\u003ctd\u003eOriginal hand-forged iron turn button on a square-shanked pivot; original cast rococo escutcheon and thumb bar; replacement keeper plate and hinges\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eRefinished by the current owner over the original boards\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1875–1910\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWidth\u003c\/td\u003e\n\u003ctd\u003e24 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDepth\u003c\/td\u003e\n\u003ctd\u003e12 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e33 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eStructurally sound and standing square, doors hanging true and both catches working. Extensive old woodworm throughout the doors and case, left visible rather than filled. Refinished surface. Replacement keeper plate and hinges, and several redundant drilled holes near the latch from earlier fittings. General marks and handling wear consistent with age.\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 size is the useful thing. At two feet wide and a foot deep it slots into a hallway, a bathroom, a mudroom or beside a bed, where a full-depth cupboard would not go, and the open base means the things you reach for daily stay out while everything else goes behind doors.\u003c\/p\u003e\n\u003cp\u003eThe wormwood is the reason to want it. Reclaimed boards with this much beetle history in them are sought after in their own right, and here they are the faces rather than something hidden, so the whole front reads as texture. A cupboard this small that is genuinely of its period, still wearing the hardware it was built with, is harder to find than the big ones.\u003c\/p\u003e\n","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48090389413993,"sku":"VE-1679","price":2363.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/58A72720-9594-4521-A75A-A81A3391F5C4.jpg?v=1789822115"},{"product_id":"cream-painted-wrought-iron-ivy-vine-bottle-rack-c-1995-2010","title":"Cream Painted Wrought Iron Ivy Vine Bottle Rack, c. 1995–2010","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA wine rack in cream-painted iron, built as an open wire frame with a vine of ivy leaves running diagonally across the face and a row of rings to cradle the bottles. It works two ways, standing on its own on a counter or a sideboard, or hung flat against a wall.\u003c\/p\u003e\n\u003cp\u003eThe frame is round-section rod, bent rather than cast, forming a clean geometric outline that the decoration then breaks up. The rings sit in a stepped row so each bottle lies clear of the next. Between them the rod is turned into open scrolls and loose C-curves, so the negative space does as much work as the metal.\u003c\/p\u003e\n\u003cp\u003eThe ivy is the point of it. Leaves are cut from sheet, each one shaped with a notched five-lobed outline and a raised central vein, and threaded along a twisted stem that climbs the diagonal. They sit at different angles, some flat to the frame and some turned out, which is what keeps the vine from reading as a repeat.\u003c\/p\u003e\n\u003cp\u003eThe finish is a warm cream, worn back at the leaf edges and the high points of the scrolls to show darker metal beneath, with small points of honest oxidation where the joints are.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is decorative ironwork rather than smith's work, and the construction says so plainly. The rod is machine-bent and welded, not forged and not riveted. The leaves are die-stamped from sheet in a single operation, which is why every one carries the same veining. Nothing here was made one at a time.\u003c\/p\u003e\n\u003cp\u003eWhat dates it is the finish. A cream ground deliberately rubbed back at the edges to expose the metal underneath is not wear, it is a decision made at the factory, and that decision belongs to a specific run in American home decor. The distressed painted look was launched commercially when Rachel Ashwell opened her Shabby Chic shop in Santa Monica in 1989, and through the 1990s it moved from a California boutique idea into the mainstream, carrying with it a whole vocabulary of cream-painted metal, ivy and grapevine motifs and French country references. By the later 2000s the look had passed its peak.\u003c\/p\u003e\n\u003cp\u003eSo the rack is offered as c. 1995 to 2010. The frame carries genuine oxidation at the welds, which takes time and is not part of the applied finish, and that sits comfortably at the older end of the range.\u003c\/p\u003e\n\u003cp\u003eWorth being straight about what it is and is not. It is not antique, it is not hand-forged, and it makes no claim to be. It is well-designed production ironwork from the tail of the twentieth century, and the design is better than most of what was made alongside it: the ivy is properly drawn, the leaves are set at varying angles rather than stamped flat in a line, and the ring spacing is worked out so the bottles actually sit right.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eWine bottle rack, free-standing or wall-mounted\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eBent and welded round-section iron rod with die-stamped sheet ivy leaves\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eCream paint rubbed back at the leaf edges and scroll high points\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eIvy vine on a twisted stem running diagonally across the face, open scrolls between the rings\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1995–2010\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWidth\u003c\/td\u003e\n\u003ctd\u003e15 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDepth\u003c\/td\u003e\n\u003ctd\u003e8 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e14 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and stable, all joints firm and all leaves present. Paint worn at the edges and high points, partly as applied and partly from use. Small points of surface oxidation at the welds. No bends, breaks or repairs found.\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\u003eWine racks are usually either furniture or an appliance, and this one is neither. It is small enough to live on a counter, a sideboard or a kitchen shelf without taking the space a cabinet would, and open enough that it reads as decoration with bottles in it rather than as storage.\u003c\/p\u003e\n\u003cp\u003eCream ironwork is quietly useful in a way heavier finishes are not. It disappears against a pale wall and lifts against a dark one, it sits happily with painted furniture, glass and white ceramic, and the ivy gives it somewhere to belong in a kitchen, a pantry or a garden room. Empty it still looks like something, which is more than most racks manage.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48090980712553,"sku":"VE-1683","price":255.0,"currency_code":"USD","in_stock":true}]},{"product_id":"vintage-chinese-gilt-lacquered-lotus-wedding-bucket-c-1900-1950","title":"Vintage Chinese Lacquered Lotus and Bird Wedding Bucket, c. 1920–1960","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA lidded coopered bucket with a tall arched carrying handle, lacquered oxblood red and painted by hand with lotus, lily pads and a bird.\u003c\/p\u003e\n\u003cp\u003eThe painting is the piece. Lotus flowers open in cream and coral with the petal tips brushed darker, buds stand on their stems beside them, and broad lily pads spread flat in a soft green with the veining drawn over the top in gold. The lid carries the full composition inside a circular gilt reserve, flowers and pads together with a small bird coming in over the top of them, and the same scheme runs around the body. Gilt scrollwork borders frame the lid, and the handle is drawn with gold vine and rosettes down both posts and across the crown.\u003c\/p\u003e\n\u003cp\u003eThe body is built the old way, from vertical staves fitted edge to edge and drawn tight. Two broad flat bands encircle it, one under the rim and one at the foot, lapped where the ends meet and pinned with two pegs, and both are finished in gold. Where the gilding stops at the upper edge the pale wood of the band shows through, so the bands are worked timber and not metal.\u003c\/p\u003e\n\u003cp\u003eThe lid drops down inside the rim and lifts out clean. The handle is a fixed arch on two posts mortised into the sides, standing well clear of the lid so the piece carries level. Inside, the bucket is painted flat black and the vertical stave joints run right up the wall, unfilled and unsanded, which is what a working vessel looks like from the inside.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe form is the Chinese lidded carrying bucket, made to move water, rice or food and made in quantity across the southern provinces. Plain ones were farm equipment. A bucket lacquered on every outside surface and then painted was a dowry or presentation piece, carried in a marriage procession or used to send food between households, and it is the decorated ones that survived because they were kept rather than worked to death. The trade sells them as wedding buckets for that reason.\u003c\/p\u003e\n\u003cp\u003eThe decoration is not arbitrary. Lotus carries the pun that Chinese ornament is built on, the flower reading as continuous and as harmony, and a bird set with lotus turns the phrase into a wish for a household. That vocabulary is the ordinary language of Chinese marriage goods and it is why the motif appears on this object and not, say, a landscape.\u003c\/p\u003e\n\u003cp\u003eThe construction is traditional throughout and puts no part of the piece in the industrial era. Coopered staves rather than a turned or laminated body, gilded timber bands lapped and pegged rather than rolled metal strip, a handle mortised into the sides rather than bolted through, and a sealed black interior that only a vessel meant to hold something needs.\u003c\/p\u003e\n\u003cp\u003eThe painting sets the ceiling. This is brushwork, laid in by hand colour over colour with the gold drawn on last, and every leaf and border is a little different from its neighbour. The Chinese decorative buckets that reached American shops from the nineteen seventies on are turned or laminated bodies carrying flat stencilled work or applied transfers, and nothing in this piece is either.\u003c\/p\u003e\n\u003cp\u003eOn that evidence it is offered as c. 1920 to 1960. Four things would narrow it: whether the staves show hand plane marks or an even machine thickness, whether the bands are split bamboo or sawn softwood under the gilding, whether the small metal plate at one handle post is an original fitting or a later repair, and whether any paper label, export stamp or inked character survives inside the lid or on the base.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eLidded carrying bucket, coopered wood, lacquered and hand painted\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eChinese\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eConstruction\u003c\/td\u003e\n\u003ctd\u003eVertical staves fitted edge to edge, two gilded timber bands lapped and pegged, drop in lid, fixed arched handle on two mortised posts\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eGround\u003c\/td\u003e\n\u003ctd\u003eOxblood red lacquer over the whole exterior, flat black paint inside\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eHand painted. Lotus flowers in cream and coral with buds, green lily pads veined in gold, and a bird on the lid, inside gilt scrollwork borders, with gold vine and rosettes on the handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone found\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1920–1960\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e20 in. overall to the top of the handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eBody Height\u003c\/td\u003e\n\u003ctd\u003e11 in. to the rim\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDiameter\u003c\/td\u003e\n\u003ctd\u003e13 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWeight\u003c\/td\u003e\n\u003ctd\u003e7 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and complete with its lid and its handle. Lacquer ground intact with the rubbing, chipping and small losses at the high points that a carried vessel collects, heaviest along the crown of the handle, the post edges, the rim and the foot, showing pale wood beneath. Painting legible and bright throughout with expected wear. Staves tight, bands in place and pegged, interior black paint worn as used. A small metal plate is fitted at one handle post. Sold as a decorative vessel and not as watertight.\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 piece that does two jobs at once. Closed, it is a lacquered object with a good silhouette, the tall handle giving it the height that a bowl or a box cannot, and the lid painting means it reads from above as well as from the side. Open, it holds things, and a lidded vessel that swallows kindling, rolled towels, umbrellas or stems earns its floor space.\u003c\/p\u003e\n\u003cp\u003eRed, green and gold against wood is the reliable combination. The oxblood is a deep muted red rather than a bright one, the lotus green is soft rather than acid, and the gold picks up whatever brass is already in the room. It gives an interior a single point of colour without committing it to a scheme.\u003c\/p\u003e\n\u003cp\u003eThe value is in the hand work. Plain coopered buckets are common and cheap, machine made painted ones are everywhere, and a bucket carrying brushwork of this quality with its lid, its handle and both bands intact is the uncommon version of a familiar object. It reads as collected rather than bought.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":50412553371753,"sku":"VE-1691","price":1208.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ve-1691-01.jpg?v=1790243172"},{"product_id":"vintage-sorrento-marquetry-music-box-laras-theme-c-1966-1980","title":"Vintage Sorrento Marquetry Music Box, Lara's Theme, c. 1966–1980","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small Sorrento jewel box in inlaid wood with a Swiss musical movement under the floor, labelled for the tune it plays. Lara's Theme, from Doctor Zhivago.\u003c\/p\u003e\n\u003cp\u003eThe lid is the work. A spray of flowers laid into the surface in cut fruitwood, roses opening at the left and right with a lily and a tulip among them, the leaves and scrolling stems drawn in paler wood and the veining engraved into each piece by hand. It is real marquetry, every element cut and fitted, set inside a double line of stringing with a rope twist banding running the whole way round the lid edge. The same rope banding is repeated on the four block feet, which is the detail that tells you the box was built rather than assembled.\u003c\/p\u003e\n\u003cp\u003eIt opens on a full length nickel hinge. Inside the lid is plain figured wood carrying an oval mirror in a red cord surround, and the well below is lined in deep red velvet and divided into one long compartment and one short. A small plate at the front edge of the well carries the button that starts and stops the movement, so the music runs when the lid lifts and can be silenced without closing it.\u003c\/p\u003e\n\u003cp\u003eThere is a lock and escutcheon at the front. Underneath, the base is pale beech, the movement screwed through it on two bolts, the brass winding arbor set to one side with its crank key in place, and the maker's paper label between them. It reads SWISS MADE, Carillon STELLA, and beneath that, Dr. Zivago.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eTwo countries made this box. The case is Sorrentine. Sorrento, on the cliffs above the Bay of Naples, has cut marquetry since the nineteenth century, when its workshops sold inlaid souvenirs to travellers coming through on the Grand Tour, and houses such as A. Gargiulo and Jannuzzi turned that trade into an industry. The movement is Swiss, from the Jura valleys where comb and cylinder work had been the local craft for a century and a half. Italian workshops bought Swiss movements by the crate and built cases around them, and the musical jewel box is what that arrangement produced.\u003c\/p\u003e\n\u003cp\u003eA word on the name. Stella is a trade label of this period and not a connection to the Stella disc boxes that Mermod Freres built at Sainte Croix in the eighteen nineties. Those are large cabinet instruments playing interchangeable steel discs and they belong to a different world entirely. This is a cylinder movement in a jewel box, which is what the label describes and what the box is.\u003c\/p\u003e\n\u003cp\u003eThe tune sets a hard floor, which is uncommon and useful. Maurice Jarre wrote Lara's Theme for David Lean's Doctor Zhivago, released at the end of 1965, and the melody became a worldwide standard through 1966, when the vocal version reached the top of the American easy listening chart. A Swiss cylinder has to be pinned for a tune, note by note, and no Swiss house pinned this one before the film existed. The box cannot be earlier than 1966.\u003c\/p\u003e\n\u003cp\u003eThe ceiling is a trade shift rather than a date. Swiss movements of this class were displaced through the nineteen seventies by cheaper Japanese units, and the hand cut inlay on this lid was displaced by printed and transferred imitations of it. A Sorrento box carrying real marquetry and a Swiss labelled movement sits before that changeover rather than after it.\u003c\/p\u003e\n\u003cp\u003eOn that evidence it is offered as c. 1966 to 1980. Four things would narrow it: whether the comb or bedplate of the movement carries a maker's stamp and a serial, what note and air count is stamped there, whether a retailer or importer sticker survives inside, and whether the key and lock are original to the box.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eMusical jewelry box, marquetry case with a Swiss cylinder movement\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCase\u003c\/td\u003e\n\u003ctd\u003eSorrento marquetry, floral spray in cut fruitwoods with engraved veining, double stringing and rope twist banding, four banded block feet\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eInterior\u003c\/td\u003e\n\u003ctd\u003eRed velvet lining in two compartments, oval mirror in a red cord surround set into the lid, start and stop button at the front of the well\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMovement\u003c\/td\u003e\n\u003ctd\u003eSwiss cylinder movement mounted under the floor, brass winding arbor with crank key\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eTune\u003c\/td\u003e\n\u003ctd\u003eLara's Theme, from Doctor Zhivago\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eLabel\u003c\/td\u003e\n\u003ctd\u003eSWISS MADE, Carillon STELLA, Dr. Zivago, on the underside\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFittings\u003c\/td\u003e\n\u003ctd\u003eFull length nickel hinge, lock and escutcheon at the front\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1966–1980\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWidth\u003c\/td\u003e\n\u003ctd\u003e8 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDepth\u003c\/td\u003e\n\u003ctd\u003e5 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eHeight\u003c\/td\u003e\n\u003ctd\u003e3 in. on the feet\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eWeight\u003c\/td\u003e\n\u003ctd\u003e2 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eSound and complete. Marquetry tight with no lifting or loss found, finish good with light surface scratching to the lid and the usual handling marks. Rope banding intact on the lid and on all four feet. Velvet lining bright with light crushing and some dust shadow. Mirror clear, cord surround sound. Hinge firm, lid closes true. Movement present with its winding key in place, and the paper label survives complete and legible, which is uncommon. Wind gently and run it before putting it into regular use, as with any movement of this age.\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\u003eA music box sells itself across a counter in a way that almost nothing else in a shop does. It is the one object a customer will pick up, open and then hand to the person standing next to them, and a box that plays a tune everybody recognises does that better than a box that plays something they do not.\u003c\/p\u003e\n\u003cp\u003eIt also works as an object with the lid shut. Eight inches of floral marquetry on a low footed box sits on a dressing table, a hall console or a stack of books and reads as furniture rather than as a novelty, and the warm fruitwood palette goes with almost any wood already in the room.\u003c\/p\u003e\n\u003cp\u003eAnd it is complete, which is the part that matters and the part most of them fail. The lock, the key, the mirror, the lining, the working button and above all the original paper label naming the tune are all still here. Most survivors have lost the label and are sold as an unidentified box that plays something. This one tells you exactly what it is.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":50412878364777,"sku":"VE-1693","price":613.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ve-1693-01.jpg?v=1790253986"},{"product_id":"vintage-park-cantilever-steel-tool-box-green-crinkle-c-1950-1970","title":"Vintage Park Cantilever Steel Tackle Box, Green Crinkle, c. 1950–1970","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA cantilever box in formed and riveted steel, the kind that opens like a set of stairs. Lift the lid and four trays swing up and outward on their linkages to sit clear of the deep well beneath. The two outer trays are divided by pressed ribs into a row of narrow bays each, the small sorted compartments a fisherman wants for hooks, swivels, sinkers and spinners; the two inner trays are longer open runs for pliers, spools and larger plugs; and the well below takes the reels and the bulk.\u003c\/p\u003e\n\u003cp\u003eThe finish is green crinkle enamel, the pebbled texture still crisp across most of the shell. Somebody later brushed the box over in gloss black, inside and in patches outside, and that overpaint is now worn and flaking away in broad islands to show the original green underneath. The result is a two colour map that no finish could be made to imitate. A nickel plated bail handle arches over the lid and a nickel drawbolt latch closes it, over a full length piano hinge.\u003c\/p\u003e\n\u003cp\u003eRiveted to the lid front is the original printed label: PARK in black on orange, reg. trade mark beneath, and PARK MFG. CO., GRANT PARK, ILL. alongside a boxed field for the model. That field was left blank, so the box carries its maker and its town but never its model number.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003ePark Manufacturing Co. worked out of Grant Park, Illinois, a village in Kankakee County an hour south of Chicago. The firm was advertising in Hardware Age in July 1952 and issued its own illustrated catalogue in 1959 under the title Park Quality Tool and Tackle Boxes, both of which survive in the trade literature. That title is the point: Park built one cantilever shell and sold it to the man at the bench and the man at the lake alike, changing the tray dividers to suit. This one was fitted out for fishing.\u003c\/p\u003e\n\u003cp\u003eThe cantilever box was the format the firm sold on. A plain box makes you unpack it to reach the bottom; a cantilever box does the unpacking for you, and every bay stays visible while you work a bank or a boat. It is a mechanism rather than a container, which is why these survive when plain boxes were thrown out.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1950–1970. Park Manufacturing Co. is documented advertising in Hardware Age in July 1952 and publishing its own tool and tackle catalogue in 1959; the crinkle enamel, the printed foil label with its blank model field and the nickel drawbolt latch all belong to that production period, and no later branding is present\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003ePark Mfg. Co., Grant Park, Illinois\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eCantilever tackle box, four swing out trays over a deep well, the outer pair divided into narrow sorted bays\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eFormed and riveted steel, green crinkle enamel, nickel plated bail handle and drawbolt latch, full length piano hinge\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eRiveted printed label to the lid front: PARK, reg. trade mark, PARK MFG. CO., GRANT PARK, ILL. The boxed model field is blank\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 20 in. wide by 8.5 in. deep by 9.5 in. high, closed\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood honest working condition. Original green crinkle sound across most of the shell. Later gloss black overpaint to the interior and in patches outside, now worn and flaking to reveal the green beneath. Handle and latch sound with plating wear. Hinge sound and the cantilever linkages operate freely through their full travel. Label intact and legible. Light surface rust in places. Used, and it looks used.\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\u003eOpen it and leave it open. The cantilever action is the whole argument: a stepped array of sorted bays that turns a closed box into a piece of sculpture and a set of shelves at the same time. Those narrow compartments were sized for tackle, which makes them just right for brushes and nibs on a studio bench, spools and bobbins in a sewing room, screws and washers on a workbench, or keys and coins by a back door. Closed it is a green rectangle with a nickel handle and an orange label, which is a good enough object to leave on a shelf and never open at all.\u003c\/p\u003e","brand":"La Rue Tool \u0026 Supply Co","offers":[{"title":"Default Title","offer_id":50416836673641,"sku":"VE-1707","price":464.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ve-1707-01.jpg?v=1790367645"},{"product_id":"antique-ebonized-colonial-revival-dresser-five-drawers-c-1915-1930","title":"Antique Ebonized Colonial Revival Dresser, Five Drawers, c. 1915–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA low chest of five drawers, three short across the top over two long, standing on turned and tapered legs that spring from carved rosette blocks at the corners. The case stiles are canted and reeded, the drawer fronts are outlined in a fine carved rope moulding, and the centre of the upper long drawer carries a shaped applied cartouche in place of a keyhole escutcheon. Brass ring pulls hang from rosette backplates on the long drawers; the three short drawers take small rosette knobs.\u003c\/p\u003e\n\u003cp\u003eThe whole case is finished in black. It is worn the way a painted piece earns rather than the way one is distressed to order: through to pale timber along the top moulding where hands and objects have passed, on the crest of each leg turning, and along the base rail at floor level. The top has been polished by use to a soft sheen. Inside, the drawers are bare warm timber, clean and dry, and one of the short drawers retains its fitted divider, the compartmented tray meant for collars, studs and jewellery.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is American Colonial Revival bedroom furniture, the vocabulary the big case goods factories worked in from the middle of the 1910s through the 1920s: Sheraton legs, reeded corners, restrained applied carving, and hardware in the federal taste. It would have been made as part of a suite, the dresser paired with a bed, a chiffonier and a vanity, and it would originally have carried a swing mirror on posts. It is offered here as the case alone, which is how most of them are used now.\u003c\/p\u003e\n\u003cp\u003eThe construction places it. The drawers run on wooden side guides, the bottoms are the wide laminated panels that became the American factory standard after about 1910, and every joint is machine cut, which rules out the hand work of the previous century. The turned leg over a carved rosette block is the detail that closes the window at the other end: by the early 1930s the American trade had moved to the rounded waterfall forms of the Art Deco years, and this design vocabulary had gone.\u003c\/p\u003e\n\u003cp\u003eThe black is not original. Beneath the wear the timber shows light, and the finish sits over the carved mouldings rather than under them. Ebonizing a piece like this is an old and honest practice, and in this case it is the making of the object: it turns a common brown dresser into something that reads as architecture.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1915–1930. The laminated drawer bottoms and wholly machine cut joinery place it after the American factories standardised, around 1910; the Colonial Revival vocabulary of turned legs on carved rosette blocks, reeded canted stiles and federal ring pulls belongs to the later 1910s and the 1920s and had given way to waterfall Art Deco forms by the early 1930s\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eOrigin\u003c\/td\u003e\n\u003ctd\u003eAmerican, factory made\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eLow dresser, three short drawers over two long, turned tapered legs on carved rosette blocks, reeded canted stiles, carved rope moulding to the drawer fronts\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFinish\u003c\/td\u003e\n\u003ctd\u003eEbonized, applied later than manufacture, with honest wear through to the timber at the edges, leg turnings and base rail\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eFittings\u003c\/td\u003e\n\u003ctd\u003eBrass ring pulls on rosette plates to the long drawers, rosette knobs to the short drawers, one short drawer with its original fitted compartment divider\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNo maker's label or stamp found in the drawers or on the case\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 44 in. wide by 20 in. deep by 34 in. high\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood and structurally sound. Standing true, drawers running freely on their wooden guides, interiors clean and dry with no odour. Paint worn through to timber at the top moulding, the leg turnings and the base rail, and lightly chipped at the top edge. Hardware complete and original to the piece. Offered without a mirror.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n\u003cp\u003eBlack furniture solves problems that brown furniture creates. It does not have to match anything, it recedes until you want to look at it, and it makes whatever sits on top of it, a lamp, a bowl, a stack of books, read as deliberate. At around waist height and nearly four feet wide this works as a bedroom dresser, but it works just as well in an entry taking keys and post, under a television, or in a dining room as a server. The rope moulding and the reeded corners are what keep it from being a plain box: they catch a raking light and give the black some depth.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":50416911482985,"sku":"VE-1709","price":2100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/ve-1709-01.jpg?v=1790368743"},{"product_id":"vintage-steelmaster-streamliner-steel-desk-letter-tray-c-1975-1995","title":"Vintage Steelmaster Streamliner Steel Desk Letter Tray, c. 1975–1995","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA single tier desk letter tray in pressed steel, finished in the warm putty enamel that American office equipment wore for forty years. The pan is drawn in one piece with a rolled lip, the back wall rises straight, and the front sweeps down in a long shallow curve so a hand can reach a sheet without lifting the stack. The sides carry the same curve, which is the detail that gives the model its name.\u003c\/p\u003e\n\u003cp\u003eThe underside is formed steel with folded and spot welded corners, pierced at each end for the posts that let trays of the same pattern stack into a column. The maker name is embossed into the metal at the back, and a silver foil label is applied beneath.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe embossing reads Streamliner Desk Trays from Steelmaster. The foil label beneath names Atapco Office Products Group of 12312 Olive Boulevard, Suite 400, St. Louis, Missouri, lists the rest of the range, and is marked made in the United States of America.\u003c\/p\u003e\n\u003cp\u003eSteelmaster is one of the long running names in American office steel, the brand under which index card boxes, cash and bond boxes, vertical and horizontal organisers and desk trays were sold to offices from the middle of the twentieth century. The Streamliner pattern, with its swept front and stackable posts, is a direct descendant of the streamlined industrial design that American manufacturers adopted in the 1930s and then kept selling long after the style itself had passed, because the shape genuinely worked.\u003c\/p\u003e\n\u003cp\u003eThe label is the dating evidence and it is worth reading carefully. It carries a toll free number in the 1-800 format and a suite address for a named corporate group rather than a factory address. Toll free consumer numbers of that kind came into general use on American consumer packaging from the late 1970s, became standard through the 1980s, and a vanity number spelling the company name is later still. The label therefore places this particular tray well after the pattern was introduced, in the later decades of its production run rather than at the beginning.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1975–1995. The Streamliner pattern itself is considerably older, but this example is dated by its label rather than by its shape. The applied foil label carries a 1-800 vanity telephone number and a corporate suite address for Atapco Office Products Group, conventions that entered American consumer packaging from the late 1970s and became standard through the 1980s, so this tray belongs to the later part of the pattern's long production\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eSteelmaster, Atapco Office Products Group, St. Louis, Missouri. Made in the United States of America\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003ePattern\u003c\/td\u003e\n\u003ctd\u003eStreamliner, with swept front and sides and stacking posts\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003ePressed steel with baked enamel finish\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eSingle tier letter tray, stackable with others of the same pattern\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eStreamliner Desk Trays from Steelmaster embossed into the steel, applied silver foil Atapco label beneath\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 13 in. wide by 9 in. deep by 2.5 in. high\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood working condition. Enamel sound overall with light scratching and scuffing on the base and minor marks consistent with desk use. No rust, dents or distortion noted. Label present and legible\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\u003eOffice steel has become one of the most reliable ways to give a room some backbone. Against wood, brass and paper the putty enamel reads as quiet and industrial rather than decorative, and it makes everything you put in it look intentional. Use it as it was meant to be used for mail and papers, or press it into service on a kitchen counter for post, in a studio for sheet material, or on a shelf for whatever wants corralling. It is also the rare vintage object that costs nothing to live with, since it cleans with a damp cloth and will outlast anything plastic you might buy instead.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67554350202985,"sku":"VE-1732","price":96.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_001b3378-4185-4620-bded-ab614b0a1a72.jpg?v=1790529600"},{"product_id":"vintage-slatted-wood-basket-cast-grapevine-handle-c-1985-2010","title":"Vintage Slatted Wood Basket, Cast Grapevine Handle, c. 1985–2010","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA small rectangular basket built as a slatted crate, with brass bound corners and a tall arched cast handle worked with grapes, vine leaves and butterflies.\u003c\/p\u003e\n\u003cp\u003eThe body is made of narrow wood slats set with even gaps between them, run vertically around all four sides and held top and bottom in a framed rail. The base is a solid panel. The whole is finished in a warm honey stain with a darker glaze worked into the joints and the edges, so the piece reads as older than it is at a glance.\u003c\/p\u003e\n\u003cp\u003eEach corner, top and bottom, is wrapped in a bent sheet brass bracket fixed with domed head fasteners. Eight of them in all. They are the detail that lifts the basket above a plain crate, and they have taken a soft gold tone with handling.\u003c\/p\u003e\n\u003cp\u003eThe handle is the reason to own it. A slender arched bar rises from a cast mount at each side, and across the front of the mount is a cast group of grape clusters, veined vine leaves and two butterflies with their wings open. It is finished in a dark verdigris green with gold rubbed across the raised surfaces, so the leaves and the butterfly wings catch light and the recesses stay dark.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is a decorative piece and it is worth saying so directly rather than letting the stain and the brass imply an age it does not have.\u003c\/p\u003e\n\u003cp\u003eThe evidence is in the making. The slats are uniform milled stock, matched in width and thickness and cut square, with no variation of the kind hand riving or a period saw leaves. The base panel is clean sawn on the underside with sharp machine edges and no weathering. The darkening in the joints is a glaze laid on deliberately over the stain rather than the uneven grime a used basket collects.\u003c\/p\u003e\n\u003cp\u003eThe handle says the same thing more plainly. The verdigris is an applied finish, even in tone across every recess and stopped cleanly at the casting edges, with gold dry brushed across the high points. A naturally weathered casting does not oxidise that evenly and never gilds itself.\u003c\/p\u003e\n\u003cp\u003eNo mark, label, stencil or stamp is present anywhere on the piece. That absence gives an outer limit rather than a starting point. The grape, vine and butterfly vocabulary in an antiqued verdigris and gold finish belongs to the garden and country decorating trade of the last decades of the twentieth century and the early years of this one, and the range below is set on that basis.\u003c\/p\u003e\n\u003cp\u003eSold on its merits as a good looking object rather than as an antique, which is what it is.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1985–2010. Dated from construction and idiom. The uniform milled slats, the clean machine sawn base, the deliberately applied darkening glaze and the factory verdigris and gold finish on the cast handle are all features of late twentieth and early twenty first century decorative production. No mark or label is present, and that absence gives an outer limit only\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eUnattributed. No mark found\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular slatted basket with solid base, framed top and bottom rails, eight sheet brass corner brackets, and a tall arched cast swing handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eStained wood, sheet brass, cast metal handle with applied verdigris and gold finish\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDecoration\u003c\/td\u003e\n\u003ctd\u003eCast grape clusters, veined vine leaves and two open winged butterflies across the handle mount, finished in dark verdigris green with gold rubbed over the raised surfaces\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 10 in. long by 6 in. deep by 5 in. high to the rail, and 11 in. high to the top of the handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eVery good. Sound and square with no loose slats, splits or missing members. All eight brass brackets present and tight. Handle firm at both mounts and swings freely. Casting complete with no losses to the grapes, leaves or butterflies. Light handling wear to the finish at the rails and the handle\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\u003eIt earns its place by being useful in more ways than it looks. Small pots and herbs on a kitchen windowsill, bottles and a corkscrew on a bar cart, rolled napkins and cutlery down the middle of a table, soaps and rolled towels in a bathroom, seed packets and twine on a potting bench. The slatted sides let everything breathe and let you see what is in it.\u003c\/p\u003e\n\u003cp\u003eThe handle makes it carry, and carrying is what turns a container into something a person actually uses rather than something that sits.\u003c\/p\u003e\n\u003cp\u003eThe green and gold against honey wood and soft brass is a combination that reads warm in almost any light, and it suits a conservatory, a garden room, a farmhouse kitchen or a porch table without needing anything else to hold it up. For a shop it fills fast, photographs well and sells on sight.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67558718799977,"sku":"VE-1762","price":254.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_9a738509-e65c-4226-b750-7a0e683f8fac.jpg?v=1790588087"},{"product_id":"antique-brushwood-gathering-basket-with-branch-handle-c-1890-1930","title":"Antique Brushwood Gathering Basket with Branch Handle, c. 1890–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA large gathering basket built the old way, from bundled brushwood clamped between bent rails, with a tall arched handle cut from a forked branch and left with its bark on.\u003c\/p\u003e\n\u003cp\u003eThe sides are not woven. They are dense masses of fine straight twigs stood upright and packed tight, then gripped top and bottom between paired split saplings and nailed through. The rails are blackened and worn glossy along their upper faces, and where two lengths of rail meet they are lapped in a long diagonal scarf rather than butted end to end. The corners are bent rather than jointed, which is what gives the basket its slightly serpentine top line instead of a hard rectangle.\u003c\/p\u003e\n\u003cp\u003eThe base is open. Spaced slats run the length of it with gaps between, so soil and water fall straight through and the basket can be shaken out without being emptied. Two heavy peeled rails run the length of the interior and carry the load.\u003c\/p\u003e\n\u003cp\u003eThe handle is the piece that makes it. A forked branch has been arched high over the basket and set into the long rails at each end, the limbs crossing and recrossing so the arch reads almost as a lyre. The bark is intact, the cut ends show pale, and the wood has silvered where hands went.\u003c\/p\u003e\n\u003cp\u003eEverything about it is hand work. Nothing is milled, nothing is uniform, and the whole object is held together by bending, packing, lapping and nailing rather than by joinery.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThis is a working basket, not a decorative one, and the construction is the argument for that. Brushwood sides and a slatted open bottom are a deliberate combination. Together they make a container that drains, that sheds dirt, that dries out after rain and that weighs almost nothing when empty. Baskets of this build were used for lifting roots, gathering fruit and cutting flowers, wherever what went in came out of the ground or off the vine.\u003c\/p\u003e\n\u003cp\u003eThe method is pre industrial in character. Split saplings bent cold around a rectangle, scarfed where two lengths meet, packed with brushwood and closed with a handle cut from a forked limb uses no sawn stock, no jointing and no fastener that a farm could not supply, and it belongs to the era before woven willow and then wire and then moulded plastic took this job away from the hedge.\u003c\/p\u003e\n\u003cp\u003eThe nails are what fix the date, and they are readable. Driven flush along the top rail are small round headed nails, each about the thickness of a pencil lead, with rust that has bled orange into the wood around the heads. Round heads on a drawn shank mean wire nails. Cut nails, which preceded them, are rectangular in both shank and head and cannot be mistaken for these. Wire nails displaced cut nails through the 1890s and were the ordinary fastener everywhere by 1900. That gives the basket a genuine floor of about 1890, which is firmer than anything the construction alone would support.\u003c\/p\u003e\n\u003cp\u003eThe ceiling comes from the type rather than from the object. Clamped brushwood baskets were a commercial garden and market product, made in quantity for the horticultural trade, and they were pushed out through the interwar years by wire and then by moulded crates. The range below reflects that, and it is tighter than this listing first carried.\u003c\/p\u003e\n\u003cp\u003eThe wear agrees with both ends of it. The rails are polished on top where the basket was gripped and set down thousands of times, the handle is silvered through the bark at the span, and the brush along the top edge is broken back from being loaded and dragged. That is a very long working life, not a decade or two of one.\u003c\/p\u003e\n\u003cp\u003eThe black finish on the rails is glossy, thick and has run and pooled in the crevices, which reads as a pitch or bituminous preservative dip rather than as paint. Dipping wooden ware against rot was ordinary practice for outdoor trade baskets.\u003c\/p\u003e\n\u003cp\u003eA crusty pale yellow and green deposit has dried into the crevices of the rails and through the base of the brush. It is consistent with long outdoor working life and with whatever the basket was used to carry or was treated with, and it is not identified here.\u003c\/p\u003e\n\u003cp\u003eThere is no mark, stamp, label or inscription anywhere on the basket, and that absence gives an outer limit rather than a starting point.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1890–1930. Dated from the fastenings, the construction and the type. The rails are nailed with small round headed wire nails, rusted into the wood around the heads; wire nails replaced rectangular cut nails through the 1890s and were universal by 1900, which sets a firm floor. Cold bent split sapling rails scarfed where they meet, packed brushwood sides, a slatted open base and a found branch handle describe a pre industrial method using no sawn stock and no jointing. The ceiling comes from the type, which was a commercial horticultural product displaced by wire and moulded crates through the interwar years. The polish on the rails and handle is very long working wear. No mark, stamp or label is present, and that absence gives an outer limit only\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaker\u003c\/td\u003e\n\u003ctd\u003eUnattributed country work. No mark found\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eRectangular gathering basket. Brushwood sides clamped between paired bent rails with scarfed joints, slatted open base, two peeled interior length rails, tall arched forked branch handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterials\u003c\/td\u003e\n\u003ctd\u003eBrushwood twigs, split and bent sapling rails with a black pitch or bituminous finish, a natural branch handle with the bark intact, wire nailed construction\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eNone\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 21 in. long by 13 in. deep, 9 in. high at the rail and 20 in. high overall to the top of the handle\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood honest working condition, sold as found. Structurally sound and stable with the rails tight, the nails holding and the handle firm at both ends. Expected loss and breakage to the fine brush along the top edge and at the corners, with loose twig ends throughout. Base slats present and sound. Black finish chipped away in places to bare wood. Old dried deposit in the rail crevices and through the brush, not cleaned off. Not restored and not tightened up\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\u003eSome objects are worth having because of what they look like and some because of what they obviously did. This one is both, and the second is rarer. You can read its entire working life off the surface in about four seconds, and that is what makes a room feel collected rather than decorated.\u003c\/p\u003e\n\u003cp\u003eThe texture is the design argument. Thousands of fine twig ends catching light against black rails and a pale silvered branch is a surface nothing manufactured can imitate, and it reads strongly from across a room without needing any colour at all.\u003c\/p\u003e\n\u003cp\u003eIt has real presence at this size. Stood on a hearth with logs in it, on a hall floor holding rolled blankets, on a long kitchen table filled with squash or apples, or on a potting bench with tools and twine, it fills the space a much larger piece of furniture would. Bear the open base in mind and line it if what goes in is loose or damp.\u003c\/p\u003e\n\u003cp\u003eFor a shop or a booth, this is a prop and a piece of stock at the same time. It will merchandise dried stems, linens, firewood or produce all day, and the customer who buys what is in it will very often buy the basket too.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67558757171305,"sku":"VE-1765","price":1006.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_3b1724a5-75e1-4ce5-bcce-91046a98ed45.jpg?v=1790589225"},{"product_id":"vintage-philadelphia-cream-cheese-wood-shipping-box-c-1920-1960","title":"Antique Philadelphia Cream Cheese Wood Shipping Box, c. 1900–1930","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n\u003cp\u003eA shallow wooden shipping box printed on all four sides with one of the most recognisable names in American groceries.\u003c\/p\u003e\n\u003cp\u003eThe form is a low open tray. Four thin sawn softwood sides stand around a set in bottom panel, the long sides running past the ends and pinned through at each corner. There is no lid with it. The whole thing is barely two inches deep, which is the depth of a single layer of packed cheese and the reason the box is shaped the way it is.\u003c\/p\u003e\n\u003cp\u003eAcross each side, printed directly into the wood in a deep ink that has gone almost navy, is PHILADELPHIA in a heavy slab serif with CREAM CHEESE stacked beside it in a lighter condensed face. The same line runs round all four sides, so the box reads from any angle it is set down on.\u003c\/p\u003e\n\u003cp\u003eThe wood is a pale even softwood with a warm honey tone on the outside and a grey oxidised surface within. One end has taken most of the wear: the printing there is broken up, with letters missing strokes where the ink has been rubbed away, and the arrises are rounded and grubby from handling. The opposite faces are far crisper. Small round nail holes pass through the printed band at intervals, each ringed with a dark iron stain.\u003c\/p\u003e\n\n\u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n\u003cp\u003eThe name on the box has a longer history than most people assume, and almost none of it is in Philadelphia.\u003c\/p\u003e\n\u003cp\u003eCream cheese of this kind was made in 1872 by William Lawrence, a dairyman at Chester in New York, who was working towards Neufchatel and added too much cream. In 1880 Lawrence went into partnership with the New York distributor A. L. Reynolds and the two of them chose the name Philadelphia for it, because Philadelphia and the country around it had a reputation at the time for the best dairy in America. The name was marketing from the first day and the cheese has never been made there.\u003c\/p\u003e\n\u003cp\u003eIn the early years of the last century the trademark passed to the Phenix Cheese Company of South Edmeston, New York, and in 1928 Phenix merged with Kraft to form the Kraft Phenix Cheese Company. The brand has been in that family ever since.\u003c\/p\u003e\n\u003cp\u003eThat chronology sets the one firm limit this box has. It cannot predate 1880, because the name did not exist before then.\u003c\/p\u003e\n\u003cp\u003eThe box carries no corporate name at all. There is no Phenix, no Kraft and no Kraft Phenix anywhere on it, and that absence is the most useful thing about it. Once Phenix merged with Kraft in 1928 the Kraft name went onto the packaging and stayed there, so a shipping box printed with the brand alone belongs to the period before that change rather than after it. An absence of that kind sets an outer limit and not a starting point, but here the limit is a real one.\u003c\/p\u003e\n\u003cp\u003eThe object agrees. The sides and the bottom are solid thin sawn softwood, not plywood, cut to a scant quarter inch and left from the saw. The nails were iron and have rusted in place, staining dark haloes into the wood around each hole, which is decades of damp and drying rather than a season of storage. The interior has gone grey with oxidation and carries dark product staining worked down into the grain, and the wear across the four printed faces is uneven in the way a box wears when it sits on a shelf with one side out, with letters on one end rubbed away to broken strokes while the opposite face stays crisp.\u003c\/p\u003e\n\n\u003ch3\u003eProduct Details\u003c\/h3\u003e\n\u003ctable\u003e\n  \u003ctbody\u003e\n    \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1900–1930. The hard floor is 1880, when the Philadelphia name was first used, so the box cannot be earlier. The ceiling is set by what is missing: no Phenix, no Kraft and no Kraft Phenix name appears anywhere, and Kraft branding became standard on the packaging after the 1928 merger. Construction supports the earlier reading, with solid thin sawn softwood rather than plywood, iron nails rusted in place and staining the wood around their holes, and an interior grey with oxidation and marked with old product staining. No box maker's imprint or date code is present\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eBrand\u003c\/td\u003e\n\u003ctd\u003ePhiladelphia Cream Cheese. Created 1872 by William Lawrence of Chester, New York, named in 1880, trademark to the Phenix Cheese Company in the early twentieth century, Phenix merged with Kraft in 1928\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eShallow open shipping box. Four thin sawn sides pinned at the corners around a set in bottom panel. No lid\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMaterial\u003c\/td\u003e\n\u003ctd\u003eSolid thin sawn softwood, not plywood, printed directly in dark blue ink. Iron nailed\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003ePrinting\u003c\/td\u003e\n\u003ctd\u003ePHILADELPHIA in heavy slab serif with CREAM CHEESE stacked alongside in condensed capitals, repeated on all four sides\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eBrand printing only. No corporate mark, box maker's imprint or date code\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 12 in. long by 7.5 in. deep by 1.75 in. high\u003c\/td\u003e\n\u003c\/tr\u003e\n    \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eGood honest condition, offered as found. Sound and square with all four sides tight at the corners and the bottom panel firm. Printing legible on all four sides, worn and broken on one end where letters have lost strokes, crisper elsewhere. Small round nail holes through the printed band. Interior grey with oxidation, with old dark product staining to the bottom panel and iron staining around the nail holes. Rounded edges and handling grime throughout. Not cleaned, sanded or refinished\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\u003eBrand recognition is the whole argument and it needs no explaining. Everyone who picks this up knows the name, most of them have a tub of it in the refrigerator right now, and almost nobody knows the cheese has never had anything to do with Philadelphia. That is a good thing to be able to tell somebody.\u003c\/p\u003e\n\u003cp\u003eShallow is what makes it useful. It is the right depth to corral the things that otherwise migrate: keys and sunglasses on a hall table, salt, pepper and a pepper mill on a counter, remotes on a coffee table, soaps beside a sink, pens and stamps on a desk. Print on all four sides means it works whichever way round it is turned.\u003c\/p\u003e\n\u003cp\u003eVisually it does a great deal with very little. Deep navy type on pale honey softwood is a strong graphic and it sits as well in a modern kitchen as in a farmhouse one, on open shelving, on a marble counter or propped upright on a plate rail as a piece of type.\u003c\/p\u003e\n\u003cp\u003eFor a shop it is the sort of small, cheerful, immediately understood object that sells from a counter without anyone needing to be persuaded, and it merchandises other stock beautifully while it waits.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":67558760185961,"sku":"VE-1766","price":324.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/01_2de73f68-84b3-4d54-9ed2-75e9cd5ba8fe.jpg?v=1790589632"}],"url":"https:\/\/viridianeclection.com\/collections\/storage.oembed?page=2","provider":"Viridian Eclection","version":"1.0","type":"link"}