{"title":"New Arrivals","description":"\u003cp\u003eThe latest finds to enter the collection — sourced one at a time from estate sales, flea markets, auctions, and travels.\u003c\/p\u003e","products":[{"product_id":"24k-gold-plated-pitcher-attributed-to-tommi-parzinger-for-dorlyn-silversmiths-1960s","title":"24K Gold-Plated Pitcher, Attributed to Tommi Parzinger for Dorlyn Silversmiths, 1960s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eTommi Parzinger understood that restraint is not the absence of luxury. It's the control of it.\u003c\/p\u003e\n\u003cp\u003eThis cylindrical pitcher in 24-karat gold plate was produced in the 1960s in a form attributed to Parzinger's work with Dorlyn Silversmiths — part of a body of work that defined American modernist metalware at its most refined. The form is deceptively simple: a straight-walled cylinder, three incised bands at the upper third, and a squared-off handle that turns a pitcher into architecture. There is nothing extra. There is nothing missing.\u003c\/p\u003e\n\u003cp\u003eParzinger emigrated from Munich to New York in 1932 and spent the next four decades designing for the kind of client who didn't need to be told what good taste looked like. His collaboration with Dorlyn Silversmiths produced some of the most collectible American metalwork of the mid-century — pieces that sit comfortably alongside the best Scandinavian and Italian design of the same period.\u003c\/p\u003e\n\u003cp\u003eThe gold plating on this example has held beautifully — warm, reflective, and even across the exterior. The interior shows honest wear from decades of use, which is exactly what you'd expect from a piece that was never treated as precious. It was treated as essential.\u003c\/p\u003e\n\u003ch3\u003eDetails\u003c\/h3\u003e\n\u003cp\u003eAttributed to Tommi Parzinger (German-American, 1903–1981) and to Dorlyn Silversmiths, New York, 1960s. A cylindrical pitcher with an angular handle and incised triple-line banding, in 24-karat gold plate over brass, stamped \"24K GP.\"\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eHeight: 9\"\u003c\/li\u003e\n\u003cli\u003eWidth: 5\"\u003c\/li\u003e\n\u003cli\u003eDepth (with handle): 6\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eGood vintage condition. Wear consistent with age and use. Exterior gold plating intact with warm, even tone and light scuffs. Interior shows wear and pitting from use. No dents or structural issues.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI found this pitcher at auction and was immediately taken with it. I’m not usually someone who gravitates toward gold, but this piece stopped me in my tracks. The shape is nearly perfect — a beautifully restrained cylinder, softened by the fine horizontal lines that wrap around the body.\u003c\/p\u003e\n\u003cp\u003eWhat really makes it for me, though, is the handle. Its strong, linear geometry feels almost architectural against the smooth cylindrical form of the pitcher. That tension between the two is such a distinctive detail and gives the whole piece an unexpected modernity.\u003c\/p\u003e\n\u003cp\u003eI also love the Munich connection. Tommi Parzinger was born there, and I can’t help imagining this sitting on a sideboard in a beautiful old \u003cem\u003eAltbau\u003c\/em\u003e apartment in Schwabing — high ceilings, parquet floors, good light, and this little flash of gold.\u003c\/p\u003e\n\u003cp\u003eOne of the most striking pitchers I’ve come across in a long time.\u003c\/p\u003e","brand":"Attributed to Tommi Parzinger","offers":[{"title":"Default Title","offer_id":48883817677044,"sku":"AA-26-038","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-gold-plated-cylindrical-pitcher.jpg?v=1784495609"},{"product_id":"postmodern-silver-plated-coffee-and-tea-set-with-ebony-handles-attributed-to-lino-sabattini-italy-1980s","title":"Postmodern Silver-Plated Coffee and Tea Set with Ebony Handles, Attributed to Lino Sabattini, Italy, 1980s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eLino Sabattini spent sixty years proving that silver could be sculpture. This set is the evidence.\u003c\/p\u003e\n\u003cp\u003eA two-piece postmodern coffee and tea service attributed to Sabattini and produced in Italy, circa 1980s. The taller coffee pot and lower tea pot share the same vocabulary — clean conical forms with sweeping horn-shaped handles carved from solid ebony. The contrast between the reflective silver plate and the dark, warm wood is the entire design: two materials, in conversation, with nothing else to distract.\u003c\/p\u003e\n\u003cp\u003eLino Sabattini was one of the defining Italian metalsmiths of the twentieth century. After establishing his own workshop in Milan and attracting the attention of Gio Ponti, he became closely associated with Christofle in the late 1950s and early 1960s before founding Sabattini Argenteria. His work is represented in major museum collections, including the Museum of Modern Art in New York. The sculptural geometry of this set places it firmly within the language of late-twentieth-century Italian design, though in the absence of a visible maker’s mark, the attribution to Sabattini remains just that — an attribution.\u003c\/p\u003e\n\u003cp\u003eThis set dates to circa the 1980s.\u003c\/p\u003e\n\u003cp\u003eBoth pieces are in good original estate condition with minor cosmetic wear to the silver-plate finish — the honest evidence of a set that was used, not just displayed. The ebony handles are intact and beautiful.\u003c\/p\u003e\n\u003cp\u003eThis belongs on a sideboard, a credenza, or a dining table where the rest of the objects are chosen with the same care.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eItaly, circa 1980s. Attributed to Lino Sabattini. Silver plate with solid ebony handles. The set comprises a coffee pot and a tea pot.\u003c\/p\u003e\n\u003ch3\u003eDetails\u003c\/h3\u003e\n\u003cp\u003eTwo-piece coffee and tea service in silver plate with solid ebony handles.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eCoffee pot: H 8\" × Dia. 4\" × W 8\"\u003c\/li\u003e\n\u003cli\u003eTea pot: H 5.5\" × Dia. 6\" × W 9\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eGood vintage condition. Original, unaltered. Both pieces show minor cosmetic wear to silver-plate finish, consistent with age and use. Ebony handles intact with no chips or cracks. No dents or structural issues.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI found this set at auction, and it spoke to me immediately. I’ve always been obsessed with 1980s Italian design — a place and an era that seemed completely unafraid of asymmetry, geometry, strange proportions, and abstract forms.\u003c\/p\u003e\n\u003cp\u003eThis set has all of that. The severe silver shapes, the sweeping ebony handles, the slightly improbable silhouettes — it feels unmistakably of that moment, when Italian designers were making useful objects that also behaved like sculpture.\u003c\/p\u003e\n\u003cp\u003eThere was something about the pair together that created an atmosphere before I had even fully studied them. That is usually the signal for me. Some objects ask to be understood first. These simply had presence.\u003c\/p\u003e","brand":"Attributed to Lino Sabattini","offers":[{"title":"Default Title","offer_id":48883926073588,"sku":"AA-26-039","price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-sabattini-silver-ebony-tea-set_da8b72ea-d555-4905-9c6a-e9025c72a224.jpg?v=1784497645"},{"product_id":"17th-century-dutch-delft-ice-skater-tile-blue-and-white-ca-1640-1680-in-frame","title":"Dutch Delft Ice Skater Tile, Blue and White, c. 1640–1680, Framed","description":"\u003ch3\u003eStory\u003c\/h3\u003e\u003cp\u003eA blue and white Dutch Delft tile from the seventeenth century, hand-painted with a single figure — an ice skater, caught mid-glide with his stick over one shoulder and the curled toe of the traditional Dutch \u003cem\u003ekrulschaats\u003c\/em\u003e clearly visible beneath his foot. The brushwork is quick, confident, and free — the kind of expressive line that came from tile painters working through hundreds a day, each one a small variation on a familiar theme.\u003c\/p\u003e\u003cp\u003eSkaters were among the most beloved subjects in Dutch Delft tile production between roughly 1640 and 1680, the coldest decades of what is now called the Little Ice Age. When the canals froze — which they did, reliably, every winter — skating became the Dutch national pastime. Painters like Hendrick Avercamp built entire careers on winter landscapes crowded with figures on the ice, and tile workshops in Delft, Rotterdam, Utrecht, and Harlingen produced skater tiles by the thousand. They lived in fireplaces, cellars, and hallways of Dutch homes — small pictures of winter kept indoors year-round.\u003c\/p\u003e\u003cp\u003eFramed in dark wood with a stepped molding — a small painting in tile, meant to sit on a mantel, a bookshelf, or a wall where the eye returns to it.\u003c\/p\u003e\u003ch3\u003eOrigin\u003c\/h3\u003e\u003cp\u003eFound while antiquing in Amsterdam. A genuine period Dutch Delft tile, unsigned as most tiles of this era were, mounted in a wood frame with backing.\u003c\/p\u003e\u003ch3\u003eOn Dutch Delft skater tiles\u003c\/h3\u003e\u003cp\u003eDutch tin-glazed earthenware tiles were among the most produced decorative objects in seventeenth-century Europe. Delft, the town that gave the ware its name, was one center of production, but tiles were made across the Netherlands from roughly 1570 onward, with the classic blue-and-white palette dominating by the mid-1600s. The characteristic subjects — soldiers, ships, animals, children's games, tradesmen, and above all winter scenes with skaters — were painted freehand by workshops of artists working from pattern books, giving each tile a small variation of line and expression even within a single production run. The curled toe of the skate visible on this tile is the \u003cem\u003ekrulschaats\u003c\/em\u003e, the traditional Dutch skate with a wooden footbed and an iron runner that turned up at the front — the same skate you can see in Avercamp's paintings, and the direct ancestor of the modern speed skate.\u003c\/p\u003e\u003ch3\u003eCondition\u003c\/h3\u003e\u003cp\u003eConsistent with the tile's age. The glaze shows the fine crazing pattern typical of seventeenth-century tin-glazed earthenware, along with iron oxide spotting and surface staining developed over centuries of installation and use. Visible corner wear along the upper right, where the glaze has softened. No structural cracks through the body of the tile. The tile is stable, the paint is intact, and the skater reads clearly.\u003c\/p\u003e\u003cp\u003eWe've priced the piece to reflect the honest condition of a working tile from a working period. A collector seeking a museum-grade example will look elsewhere. A buyer who wants a genuine seventeenth-century object with real history — with the marks of the centuries it has passed through — will find this one worth keeping.\u003c\/p\u003e\u003ch3\u003eDimensions\u003c\/h3\u003e\u003cp\u003eTile: approximately 5 in x 5 in (13 cm x 13 cm)\u003c\/p\u003e","brand":"Atlas \u0026 Arden","offers":[{"title":"Default Title","offer_id":49069009567988,"sku":"AA-26-040","price":285.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-17th-century-delft-iceskater-tile.jpg?v=1787918740"},{"product_id":"cast-spelter-greyhound-after-pierre-jules-mene-late-nineteenth-century-french","title":"Cast Spelter Greyhound After Pierre-Jules Mêne, French, Late Nineteenth Century","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA cast spelter sculpture of a greyhound, modeled after a composition by \u003cstrong\u003ePierre-Jules Mêne\u003c\/strong\u003e (1810–1879), one of the great French animalier sculptors of the nineteenth century. The dog stands on a naturalistic ground, head turned back over the shoulder, muzzled with a small ring hanging from the collar — the exact tension between motion and stillness that Mêne built his career on. Mounted on a stepped oval plinth in dark wood.\u003c\/p\u003e\n\u003cp\u003eMêne's original bronzes of hounds and horses were among the most celebrated decorative sculptures of their time — expensive, exhibited at the Paris Salon, cast in limited editions for serious collectors. This piece belongs to the second life of that work: the later nineteenth-century tradition of French foundries producing spelter reproductions of the great animalier compositions for the middle-class parlor and mantel. It was a democratization of taste — the aesthetic of Mêne, Barye, and Fratin made accessible to Victorian and Edwardian homes that wanted a piece of Paris without the price of a period bronze.\u003c\/p\u003e\n\u003cp\u003eCast spelter — an alloy of zinc, sometimes with tin and lead — was the material of that democratization. Patinated to imitate bronze, hand-finished at the foundry, and sold through department stores and mail-order catalogs across France, Belgium, England, and the United States. Legitimate objects in their own right, and increasingly collected as such.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eSourced at a New York City flea. Unsigned, as most spelter animalier reproductions of the period were — the composition and the tradition are the identifiers.\u003c\/p\u003e\n\u003ch3\u003eOn Pierre-Jules Mêne and the animalier tradition\u003c\/h3\u003e\n\u003cp\u003eMêne belonged to the first generation of \u003cem\u003eanimaliers\u003c\/em\u003e — French sculptors of the mid-nineteenth century who elevated animal subjects to the level of serious sculpture. Alongside Antoine-Louis Barye, Christophe Fratin, and Emmanuel Frémiet, he defined a movement that emphasized anatomical observation, dynamic pose, and psychological presence in animal subjects. His hounds, horses, and hunting scenes were exhibited at the Paris Salon from the 1830s through his death in 1879, and his bronzes remain among the most collected French decorative sculpture of the period. This piece is not from his hand or his foundry — the \"after Mêne\" convention signals a later reproduction of his composition — but the pose, the modeling, and the spirit are drawn directly from the tradition he built.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good. The patinated surface is intact and reads as intended — the warm dark finish that spelter was routinely given to imitate bronze at the foundry. A single very small nick on the back left leg reveals the underlying pale zinc alloy, which is how we identified the material. This is the only visible flaw. The period base is stable and structurally sound, with no cracks in the metal or the wooden plinth. No losses to the modeling, no repairs.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003eSculpture and base overall: L 12\" x W 5.5\" x H 7\"\u003cbr\u003e\nWeight: 4 kg (approximately 8.8 lbs) including plinth\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eThe first thing that struck me was the depth of the black patina. It had a richness to it that immediately made the piece feel special. Then I picked it up. The weight gave it a presence that confirmed the impression — this was not a light decorative object pretending to be old.\u003c\/p\u003e\n\u003cp\u003eI’ve always loved nineteenth-century animal sculpture, and dogs in particular have a way of making those pieces feel more intimate to me. There is something comforting about them: beautifully observed, dignified, but still familiar.\u003c\/p\u003e\n\u003cp\u003eThis greyhound has that quality in spades. It is elegant without being precious, graceful without becoming delicate. I can see it sitting perfectly in a library, on a side table, or among a stack of books — a small piece of sophisticated animalier sculpture with real presence.\u003c\/p\u003e","brand":"Atlas \u0026 Arden","offers":[{"title":"Default Title","offer_id":49102530904308,"sku":"AA-26-041","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-spelter-greyhound-sculpture.jpg?v=1786208648"},{"product_id":"robert-a-m-stern-silverplate-pitcher-for-swid-powell-italy-1986","title":"Robert A.M. Stern Silverplate Pitcher for Swid Powell, Italy, 1986","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA silverplate pitcher designed by \u003cstrong\u003eRobert A.M. Stern\u003c\/strong\u003e for \u003cstrong\u003eSwid Powell\u003c\/strong\u003e, produced in Italy in 1986 — one of Stern's iconic contributions to the postmodern architects' tabletop movement of the 1980s. The body is a Doric column; the top of the capital swells out on one side to form the spout; the scroll handle arcs lyrically upward, countering the solidity of the vessel with a single confident gesture. Classical vocabulary translated into contemporary sculpture.\u003c\/p\u003e\n\u003cp\u003eSigned on the underside: \u003cstrong\u003eSwid Powell \/ Made in Italy \/ Silver Plated \/ RAMS\u003c\/strong\u003e (Robert A.M. Stern's designer monogram). Documented example in the collection of the Yale University Art Gallery, Swid Powell Collection, gift of Nan Swid, accession number 2011.200.16. Additional examples in the Metropolitan Museum of Art and the Dallas Museum of Art.\u003c\/p\u003e\n\u003ch3\u003eOn Robert A.M. Stern and Swid Powell\u003c\/h3\u003e\n\u003cp\u003eRobert A.M. Stern (1939 - 2025) was one of the most significant American architects of the late twentieth century — founding partner of Robert A.M. Stern Architects (RAMSA), Dean of the Yale School of Architecture from 1998 to 2016, and author of the definitive multi-volume architectural history of New York. His work is characterized by reinterpretations of traditional architecture, from nineteenth-century shingle cottages to Art Moderne skyscrapers, translated through contemporary sensibility.\u003c\/p\u003e\n\u003cp\u003eSwid Powell was the New York tableware company founded in 1982 by Nan Swid and Addie Powell — two former Knoll colleagues who translated postmodern architecture from the skyscraper to the dining table. They brought in a generation of prominent architects — Stern, Richard Meier, Michael Graves, Ettore Sottsass, Philip Johnson, Robert Venturi, Stanley Tigerman, Zaha Hadid, Frank Gehry — and produced tabletop objects that are now considered defining works of postmodern design. The company's papers were donated to Yale University Art Gallery in 2007, accompanied by the exhibition \u003cem\u003eThe Architect's Table: Swid Powell and Postmodern Design\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe Stern pitcher is documented in \u003cem\u003eSWID POWELL: Objects by Architects\u003c\/em\u003e (Annette Tapert, Rizzoli, 1990), the standard reference on the collection.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound at a New York City flea market. A quietly significant object — the kind of piece that photographs beautifully and reads to the informed eye immediately, but sat on a table waiting for the right buyer to recognize it.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eExcellent. The silverplate is bright and intact across the body, the handle, the spout, and the pedestal foot. One small, effectively invisible rise on the right side of the rim — perceptible only when a finger is run along the edge, not visible to the eye. No plate loss, no dents, no scratches beyond the light surface wear expected of a piece from the mid-1980s. The scroll handle is tight and structurally sound.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003eApproximate: 11¼ in tall × 6¼ in wide × 10 in deep (28.5 cm × 15.9 cm × 25.4 cm). Weight: 3.1 kg (approximately 6.8 lbs)\u003c\/p\u003e\n\u003cp\u003eDimensions referenced to the Yale University Art Gallery accession record (2011.200.16)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eWhat stopped me was the confidence of it: a Doric column turned into a piece of tableware, serious architecture made unexpectedly domestic. I found it at a New York City flea market, sitting quietly among much more ordinary things — exactly the kind of discovery that keeps me looking.\u003c\/p\u003e\n\u003cp\u003eRobert A.M. Stern had an enormous influence on the way New York looks today. Our first apartment in the city was across the street from one of his best-known Central Park West towers, and I loved staring at it at different times of day, watching the way it caught the light. Stern helped reintroduce a kind of muscular, historically informed classicism to the city’s skyline. His work has sometimes been dismissed as nostalgic imitation, but I have always felt that he understood how to borrow from the best of architectural history without simply copying it.\u003c\/p\u003e\n\u003cp\u003eThat is what makes this pitcher so special to me. It takes the same instinct and reduces it to the scale of a table: a classical column, reworked with wit and precision into something completely functional. You can hold in your hands the same architectural language that helped shape New York.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom home: \u003ca href=\"\/blogs\/field-notes\/greenwich-village-new-york\"\u003eGreenwich Village Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Swid Powell","offers":[{"title":"Default Title","offer_id":49102597325044,"sku":"AA-26-042","price":425.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-silverplate-doric-pitcher_4b899123-3acf-421c-94ff-60b518cfd916.jpg?v=1786214498"},{"product_id":"culver-22k-gold-patriotic-eagle-cocktail-shaker-set-seven-pieces-c-1960s","title":"Culver 22K Gold \"Patriotic Eagle\" Cocktail Shaker Set, Seven Pieces, c. 1960s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA complete Culver cocktail set in the \"Patriotic Eagle\" pattern — a 22-karat gold Federal Eagle with olive branch and arrows, ringed by gold stars, on a tall glass shaker with a brass cap and six matching roly-poly rocks glasses. American mid-century barware at its most confident: the Great Seal iconography rendered in glittering gold on clear glass, meant for the sideboard and the cocktail hour and the kind of entertaining that took itself seriously and looked good doing it.\u003c\/p\u003e\n\u003cp\u003eThe timing is not incidental. 2026 marks the \u003cstrong\u003eSemiquincentennial\u003c\/strong\u003e — the 250th anniversary of American independence — and the objects that hold the country's iconography most confidently are worth looking at again. Culver's Patriotic Eagle set was designed in the Kennedy era, when American entertaining leaned into Federal design and Great Seal iconography, and it reads now as both a mid-century artifact and a Semiquincentennial object. The Eagle is the same one on the dollar bill and the presidential seal. The gold is real. The set has been waiting sixty years for this year.\u003c\/p\u003e\n\u003cp\u003eSold as a complete set of seven: the shaker plus all six original glasses.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound at auction. The complete matched set is uncommon — most Culver Patriotic Eagle sets that come to market are missing pieces, or the shaker without the glasses, or a partial set of two or three glasses. Finding all six glasses with the original shaker in matching condition is the reason to buy.\u003c\/p\u003e\n\u003ch3\u003eOn Culver Ltd. and American gilded barware\u003c\/h3\u003e\n\u003cp\u003eCulver Ltd., founded in the 1940s and headquartered in New Jersey, was one of a small group of American glassmakers — alongside Georges Briard, Fred Press, and Cera — who defined the mid-century cocktail hour with their signature 22-karat gold decoration on clear glass. Culver's patterns ranged from Hollywood Regency (Greek Key, Chinoiserie, Moroccan) to Americana (Patriotic Eagle, Federal motifs) to Kitsch (Coins, Feathered patterns). Their pieces are actively collected today, with complete matched sets commanding significant premiums over individual glasses.\u003c\/p\u003e\n\u003cp\u003eThe 22K gold on Culver pieces is real gold, applied by transfer and fired onto the glass — the material and technique that gives these pieces their distinctive brightness even six decades later.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good vintage condition, consistent with the set's age. The 22K gold decoration is intact across the shaker and all six glasses — the Federal Eagle motif, the star patterns, and the gold rim bands all reading brightly. Light fading of the gold band around the rims of some glasses is visible on close inspection, common to gilded glassware of this period. The shaker's brass cap is intact with its original finial. No chips, no cracks, no losses. Structurally sound throughout.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003eShaker: 9.75 in tall (10 in with cap)\u003cbr\u003e\nGlasses (six matching): 3 in tall x 2.75 in diameter\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI’ve always had a soft spot for mid-century Americana. It immediately takes me back to my grandparents’ generation — the people who came through the Second World War and displayed their patriotism without irony. The flag on the house. The stitched bald eagle throw pillow. The sort of thing that sits right on the line between kitsch and nostalgia.\u003c\/p\u003e\n\u003cp\u003eWhen I found this Culver set at auction, all of that came rushing back. The gold eagle, the stars, the sheer confidence of it — it felt completely of that moment, and completely charming because of it.\u003c\/p\u003e\n\u003cp\u003eThis is the set I imagine coming out for a summer garden party on the Fourth of July, or a Memorial Day barbecue with too many people and very cold drinks. Sometimes a little Americana is exactly the point.\u003c\/p\u003e","brand":"Culver Ltd.","offers":[{"title":"Default Title","offer_id":49103368421620,"sku":"AA-26-043","price":295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-culver-gold-eagle-cocktail-set_8f778e2f-c42d-4d63-9c82-89562197f1a1.jpg?v=1786273074"},{"product_id":"reed-barton-modernist-footed-bowl-model-79-silverplate-c-1950s-60s","title":"Reed \u0026 Barton Modernist Footed Bowl, Model 79, Silverplate, c. 1950s–60s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA Reed \u0026amp; Barton silverplate bowl from the firm's midcentury modernist line — a rounded-triangular form sweeping into a smooth conical center, raised on three teardrop feet. No ornament, no pattern, no engraving. The design is the entire event: a single continuous curve that reads as pure geometry from above and seems to float when seen from the side.\u003c\/p\u003e\n\u003cp\u003eAt eleven inches across, this is a proper centerpiece — larger than the small dishes that usually surface from this series, with the scale to hold a table on its own.\u003c\/p\u003e\n\u003cp\u003eThis is American silver at its mid-century turning point. Reed \u0026amp; Barton, by then more than a century old, spent the 1950s and 60s bringing Scandinavian-influenced modern design into American dining rooms — sculptural giftware that traded the repoussé and scrollwork of the past for clean line and honest form. This bowl belongs to the numbered series at the heart of that program, stamped model 79 on the underside with the factory mark.\u003c\/p\u003e\n\u003cp\u003eThe teardrop feet are the detail worth studying — three small sculptures holding up a fourth. Use it for fruit, for the center of a table, or for nothing at all.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound at an Atlanta estate sale. Stamped REED \u0026amp; BARTON 79 with factory cipher on the underside. Silverplate throughout, as made — this bowl was produced without the enamel interior found on some pieces in the series, letting the polished silver carry the form alone.\u003c\/p\u003e\n\u003ch3\u003eOn Reed \u0026amp; Barton and American modernist silver\u003c\/h3\u003e\n\u003cp\u003eReed \u0026amp; Barton of Taunton, Massachusetts was one of America's great silversmithing firms, operating from 1824 to 2015. In the late 1950s the company made a deliberate turn toward modernism, bringing the Danish-American silversmith John Prip on as designer-in-residence and building a giftware program of sculptural bowls and dishes that put modern form on ordinary American tables. The numbered series from this era — atomic-age shapes on teardrop and tripod feet, some with vivid enamel interiors, some in plain silver — is actively collected today, documented in Jewel Stern's Modernism in American Silver (Yale University Press, 2005), the standard reference on the period.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good vintage condition, freshly polished. Light surface scratches to the interior consistent with age and gentle use, visible on close inspection at an angle. Plating intact throughout with no wear-through, no dents, no repairs. Sits level on all three feet.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003e3\" tall x 11\" wide\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/atlanta\"\u003eAtlanta Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Reed \u0026 Barton","offers":[{"title":"Default Title","offer_id":49139674382580,"sku":"AA-26-044","price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-reed-barton-silverplate-bowl_98730a14-15af-4013-be48-c9e17e55d87d.jpg?v=1786666064"},{"product_id":"limoges-porcelain-box-with-gilt-love-trophies-bh-atelier-paris-mid-20th-century","title":"Limoges Porcelain Box with Gilt Love Trophies, BH Atelier, Paris, Mid-Twentieth Century","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA Limoges porcelain box painted in nothing but gold. The lid carries a gilt trophy in the Louis XVI manner — a flaming torch crossed with a quiver of arrows, the old emblems of love, framed by floral sprays. A laurel garland circles the base. Gilt-metal mounts with a scrolled acanthus clasp finish the serpentine body.\u003c\/p\u003e\n\u003cp\u003eThis is the vocabulary of the eighteenth-century French gift — the torch and quiver were how you said love on porcelain — carried forward by the Limoges decorating trade that kept the tradition alive into the twentieth century. Boxes like this were made to hold something small and be given to someone particular.\u003c\/p\u003e\n\u003cp\u003eThe detail that elevates it: open the lid and the decoration continues. A gilt sprig at the center of the interior lid, another inside the base. The atelier finished the parts of the box only its owner would ever see.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound in Atlanta at a Buckhead estate sale. Marked on the base with the crowned shield of the BH decorating atelier, Paris — \"Décor Main,\" hand-decorated — over the Limoges stamp. A Limoges porcelain blank, decorated by a Paris studio, mid-twentieth century.\u003c\/p\u003e\n\u003ch3\u003eOn Limoges and the decorating ateliers\u003c\/h3\u003e\n\u003cp\u003eLimoges has been the center of French porcelain since the late eighteenth century, when kaolin was discovered nearby and Louis XVI bought the town's first factory. But Limoges was never a single maker — it was an ecosystem: factories producing brilliant white porcelain blanks, and independent decorating studios, many Paris-based, painting and gilding them. The two-part marks on pieces like this one — factory beneath, decorator above — record that collaboration. The gilt-on-white manner, with its Louis XVI trophies and garlands, descends directly from the Sèvres tradition the whole trade grew up imitating and eventually made its own.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good vintage condition. Gilt decoration intact and bright across the lid, sides, and interior. Light rubbing to the gilt rims at the contact edges, consistent with age and handling. Metal mounts sound; hinge opens and closes cleanly. No chips, no cracks, no hairlines.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003e6\" length x 3.5\" deep x 2.5\" tall\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI found this resting alone in a cupboard at an estate sale in Atlanta, half-hidden behind a glass pane. There was nothing else around it, which somehow made it even more striking. My eye went straight to it.\u003c\/p\u003e\n\u003cp\u003eIt is more ornate than the things I usually gravitate toward — all that gilding, the love trophies, the very French flourish of it — but the shape and balance of the piece completely won me over. I could immediately see it sitting by itself on a sleek coffee table or desk, where the contrast would make it feel almost sculptural.\u003c\/p\u003e\n\u003cp\u003eThat is what I liked most about it: it suggests a certain kind of life. A beautiful object picked up somewhere along the way, kept because it meant something, and placed with confidence rather than fuss. Elegant, a little unexpected, and just worldly enough.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/atlanta\"\u003eAtlanta Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Décor Main - Limoges","offers":[{"title":"Default Title","offer_id":49180322038004,"sku":"AA-26-045","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-limoges-porcelain-gilt-box_e711d16b-323c-4c17-8757-a6bd8830180a.jpg?v=1786892334"},{"product_id":"pair-of-charles-x-patinated-bronze-candlesticks-france-c-1830","title":"Pair of Charles X Patinated Bronze Candlesticks, France, c. 1830","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eA pair of French bronze candlesticks from the Charles X years — fluted columns rising from acanthus collars to urn-form sockets, on tripartite bases carried by lion's paw feet. The surfaces alternate between deep brown patina and rings of burnished gilt brass, the two-tone finish that defines the best bronze work of the Restauration period.\u003c\/p\u003e\n\u003cp\u003eThis is what French decoration looked like in the 1820s and 30s: the Empire's classical vocabulary — columns, urns, palmettes, paws — softened after Napoleon into something meant for the salon rather than the state occasion. Candlesticks like these were made in pairs for the mantelpiece and have survived in pairs far less often than they were made.\u003c\/p\u003e\n\u003cp\u003eThe paw feet are the detail worth studying. Three per stick, cast crisply enough that the toes still read, holding up each column like small pieces of furniture.\u003c\/p\u003e\n\u003cp\u003eSold as a true pair — matching castings, matching patina, both bobèches present.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound in Atlanta. Unmarked, as nearly all French domestic bronze of this period is. Period construction throughout: hollow-cast bases assembled on iron rods with hand-cut square nuts, hand-filed rims, and undisturbed oxidation to the undersides. Solid bronze, confirmed by weight and testing. Original two-tone patina, never polished or refinished.\u003c\/p\u003e\n\u003ch3\u003eOn Restauration bronze\u003c\/h3\u003e\n\u003cp\u003eThe Restauration and Charles X years (1815–1830) were the last great age of the Parisian bronzier. The workshops that had furnished Napoleon's palaces turned to the private salon, producing candlesticks, clocks, and garnitures in patinated bronze with gilt accents — quieter than Empire gilt-bronze, and in many eyes finer. The two-tone treatment on this pair, dark patina against bright gilt rings, is the signature of that moment. Pairs that have stayed together for nearly two centuries are the exception, not the rule.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Original patina intact with honest wear to the high points; gilt rings bright. Castings crisp throughout. Both bobèches present and matching — the wax dishes are frequently lost or mismatched on pairs of this age. Old candle wax carefully removed; no polishing, no restoration. Both sticks sit level and solid.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003e11\" tall (each)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI was drawn first to the contrast — the dark patinated bronze against the brightness of the gilt rings — and then to the lion’s paw feet, which reveal themselves only on closer inspection. Turning them over, I found the original early nineteenth-century screws and bolts still in place, worn by time but remarkably solid. There is something especially satisfying about finding a true pair like this, with their original surface and hardware intact: objects that have remained together, and remained themselves, for two centuries.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/atlanta\"\u003eAtlanta Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Atlas \u0026 Arden","offers":[{"title":"Default Title","offer_id":49182281793780,"sku":"AA-26-046","price":545.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-french-bronze-candlesticks_534aac42-a8da-4d4c-b628-58084d75451d.jpg?v=1786907418"},{"product_id":"maxwell-stewart-simpson-male-nude-study-pencil-on-paper-signed-and-dated-paris-1929","title":"Maxwell Stewart Simpson Male Nude Study, Pencil on Paper, Signed and Dated Paris 1929","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003eHe is all movement, captured in a single line.\u003c\/p\u003e\n\u003cp\u003eA male nude seen from behind, his body turning forward as one arm reaches into the empty space beyond the page. The pose feels momentary—the model caught between positions rather than settled into one. With little more than a confident contour and a few precisely placed shadows, the artist gives the figure weight, tension, and direction.\u003c\/p\u003e\n\u003cp\u003eThe paper has mellowed beautifully with age. Beneath layered cream matting and a substantial warm wood frame, the figure has room to breathe. The entire piece feels quiet and architectural, but never static. It would be especially good in a bedroom, library, or at the end of a hallway, where that sense of movement can draw the eye forward.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eFound in Hudson, New York. Signed “Maxwell St. Simpson” and inscribed “Paris 1929,” identifying the artist as Maxwell Stewart Simpson (American, 1896–1984). Simpson studied at New York’s National Academy of Design and the Art Students League before traveling and working in Europe. This Paris figure study reflects that academic training while already showing the economy and modernity that would characterize his mature work.\u003c\/p\u003e\n\u003cp\u003ePencil on paper, depicting a standing male nude viewed from behind. Signed, located, and dated at lower right. Presented under glass with layered cream matting in a substantial warm natural-wood frame.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eGood vintage condition. The paper shows overall toning, soft creasing, gentle rippling, and scattered marks consistent with age and studio use. The matting shows minor age-related discoloration; the wood frame has light surface wear. Presented under glass and not examined outside the frame.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003e26\" H × 19\" W (framed)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI found him while sourcing in Hudson, and it was the line of the back that caught me first—the turn through the shoulders, the weight of the legs, and that outstretched hand reaching beyond the paper.\u003c\/p\u003e\n\u003cp\u003eThe signature \u0026amp; inscription also caught my eye: Paris, 1929. The drawing is far more than a beautiful body; it was a surviving moment from an artist’s life nearly a century ago, recorded quickly enough that the movement still feels present. Paris between the wars, a young American artist practicing his art in a city like no other. \u003c\/p\u003e\n\u003cp\u003eThe frame sealed it for me. Its broad proportions, warm wood, and layered matting give the figure room to breathe without competing with him. It is restrained, handsome, and inseparable from the way the drawing now reads.\u003c\/p\u003e\n\u003cp\u003eI wasn’t leaving Hudson without him.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/hudson-new-york\"\u003eHudson \u0026amp; the Hudson Valley Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Maxwell Stewart Simpson","offers":[{"title":"Default Title","offer_id":49336246599924,"sku":"AA-26-047","price":795.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-maxwell-stewart-simpson-nude-drawing_7b252dd5-67ac-4411-b01e-775672565fee.png?v=1788745816"},{"product_id":"art-deco-geometric-marbled-box-circa-1930s","title":"Art Deco Geometric Marbled Box, circa 1930s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\n\u003cp\u003ePure Art Deco geometry, softened by extraordinary material.\u003c\/p\u003e\n\u003cp\u003eThis 1930s decorative box is built around a series of opposing triangles in cream and deep marbled green, repeated across the lid and sides with almost architectural precision. The stepped base, flared lid and tiny squared feet give the whole piece the presence of a miniature Deco building.\u003c\/p\u003e\n\u003cp\u003eWhat makes it especially good is the contrast. The cream panels are crisp and graphic, while the green shifts between olive, forest and near-black, with a depth and movement that changes in the light. Open the lid and the geometry gives way almost entirely to that richly mottled green interior.\u003c\/p\u003e\n\u003cp\u003eIt is the kind of object that earns its place even when holding nothing at all — handsome on a desk, dresser or cocktail table, but equally useful for jewelry, correspondence or the small things one wants kept out of sight.\u003c\/p\u003e\n\u003ch3\u003eOrigin\u003c\/h3\u003e\n\u003cp\u003eArt Deco, circa 1930s. Constructed from contrasting cream and marbled green early-plastic or celluloid-type material, with geometric inlay throughout. The hinged lid opens to a fully finished green marbled interior.\u003c\/p\u003e\n\u003cp\u003eThe maker and country of origin are presently unknown. The materials have not been laboratory tested, so we have intentionally avoided a more specific attribution such as Bakelite, galalith or celluloid.\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eGood vintage condition with surface wear, small marks, discoloration and minor imperfections consistent with age and use. Some age-related spotting is visible on the cream-colored panels, with additional wear at edges and hardware. The interior retains particularly rich color and character. Please refer closely to photographs.\u003c\/p\u003e\n\u003ch3\u003eDimensions\u003c\/h3\u003e\n\u003cp\u003e5.5\" W × 4.5\" D × 2.25\" H at widest points\u003cbr\u003eInterior: 3.75\" W × 2.5\" D\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eSourcing Note\u003c\/h3\u003e\n\u003cp\u003eI spotted this box on a sourcing trip in Hudson, New York, sitting quietly on a shelf amid a stack of books. The light caught the green marbling first — deep, shifting and almost luminous — and I had to pick it up.\u003c\/p\u003e\n\u003cp\u003eOnce in hand, it was the delicacy of the shape and the architectural precision of the design that really got me. The opposing geometry, stepped base and tiny feet give it a presence far greater than its size.\u003c\/p\u003e\n\u003cp\u003eI have always loved keepsake boxes. They look good on nearly any surface, but I also love that they have a purpose: they hold the small, private things we decide are worth keeping. I think that affection comes from my grandfather, who had boxes placed throughout his home. As a child, I loved rummaging through them. Each felt like its own little treasure chest — some more richly filled than others, but all of them carrying a bit of mystery.\u003c\/p\u003e\n\u003cp\u003eThis one immediately brought that feeling back.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/hudson-new-york\"\u003eHudson \u0026amp; the Hudson Valley Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Atlas \u0026 Arden","offers":[{"title":"Default Title","offer_id":49341257515252,"sku":null,"price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-art-deco-marbled-box_74389fdc-a9fb-476a-abe5-d5ece6ea308b.png?v=1788804117"},{"product_id":"japanese-parrot-flower-frog-japan-circa-1930s-40s","title":"Japanese Parrot Flower Frog, Japan, circa 1930s–40s","description":"\u003ch3\u003eStory\u003c\/h3\u003e\u003cp\u003eA wonderfully eccentric Japanese glazed earthenware flower frog, modeled as a brightly colored parrot perched atop an organic, tree-stump-like base pierced for individual stems.\u003c\/p\u003e\u003cp\u003eThe bird is rendered in deep blue, green, red and yellow glaze, set against a mottled olive-brown base. The contrast gives the piece a wonderfully graphic quality — cheerful, sculptural and just strange enough.\u003c\/p\u003e\u003cp\u003eOriginally a practical device for holding stems in place, the flower frog became something much more decorative in the early 20th century, when makers began shaping them as animals, figures and small pieces of sculpture.\u003c\/p\u003e\u003cp\u003eThis example sits squarely in that tradition. Used with a handful of flowers, the openings allow individual stems to be arranged around the base. Left empty, it works equally well as a small piece of decorative sculpture.\u003c\/p\u003e\u003ch3\u003eOrigin\u003c\/h3\u003e\u003cp\u003eMade in Japan, circa 1930s–40s, this piece is crafted from glazed earthenware and stamped “Made in Japan” to the underside. Its hand-worked form, expressive glazing and whimsical subject are characteristic of the decorative ceramics exported from Japan during the period.\u003c\/p\u003e\u003ch3\u003eCondition\u003c\/h3\u003e\u003cp\u003eGood vintage condition with age-appropriate wear, surface variation and irregularities to the glaze.\u003c\/p\u003e\u003cp\u003eMinor glaze wear, firing irregularities and signs of use are present throughout and are consistent with the age and character of the piece. Please review all photographs carefully.\u003c\/p\u003e\u003ch3\u003eDimensions\u003c\/h3\u003e\u003cp\u003e6 in. high × approximately 4 in. wide at the widest point.\u003c\/p\u003e\u003chr\u003e\u003ch3\u003eSourcing Note\u003c\/h3\u003e\u003cp\u003eFound in Hudson, New York.\u003c\/p\u003e\u003cp\u003eThis was one of those objects I noticed immediately because I couldn’t quite decide what it was — part flower frog, part vase, part sculpture. The parrot provides the charm, but it was the wonderfully strange, almost geological base and its constellation of openings that really drew me in.\u003c\/p\u003e\u003cp\u003eI especially like objects whose original function is still apparent but no longer defines them. Add a few loose stems and this becomes a remarkably playful centerpiece; leave it empty and it is eccentric enough to hold its own entirely as sculpture.\u003c\/p\u003e\u003cp\u003eA very Atlas \u0026amp; Arden kind of find: useful, characterful and just a little peculiar.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFrom the road: \u003ca href=\"\/blogs\/field-notes\/hudson-new-york\"\u003eHudson \u0026amp; the Hudson Valley Field Notes →\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Atlas \u0026 Arden","offers":[{"title":"Default Title","offer_id":49342517248244,"sku":null,"price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/6321\/6372\/files\/atlas-arden-japanese-parrot-flower-frog_b694dade-0b0b-4940-96bd-f84ae4d277d8.png?v=1788829582"}],"url":"https:\/\/atlasandarden.com\/collections\/new-arrivals.oembed","provider":"Atlas \u0026 Arden","version":"1.0","type":"link"}