{"title":"All Works","description":"","products":[{"product_id":"dietrich-schuchardt-steine","title":"Steine","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eDietrich Schuchardt was born on February 14th, 1945 — the same day the British Air Force destroyed Dresden. His pregnant mother had fled their home in eastern Germany ahead of the advancing Russian army, arriving with hundreds of other women and refugees to an overcrowded hospital on the island of Rügen. The obstetrician warned her the newborn could not survive the brutal winter. She refused to leave him. He survived. And he grew up to spend his life making art about the cycles of destruction and renewal, about the thing that persists after devastation, about what remains when everything else has been stripped away.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eIt is not a coincidence that his subject is stones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eSteine\u003c\/em\u003e was made in 1977, when Schuchardt was thirty-two and already deep into the practice that would define his career. He worked in an almost extinct tradition: engraving copper plates by hand with an antique phonograph needle, a single composition taking well over one hundred hours to complete. After the engraving, the plate was treated in an acid bath, inked, and printed — yielding black and white impressions pulled one at a time. Then, in a tradition that virtually no other printmaker of his generation maintained, he hand-painted each impression individually in watercolor. Every print in the edition is a true original in the strictest sense. No two are alike.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis impression is numbered 4 from an edition of 30, signed by the artist. The hand-painted watercolor gives the stones a warmth and specificity that no reproduction process could produce — each mark placed by the same hand that spent a hundred hours carving the plate. Schuchardt cites Dürer, Dalí, and Max Ernst as his primary influences, and in \u003cem\u003eSteine\u003c\/em\u003e you can feel all three: the German master's precision, the surrealist's eye for strangeness in the ordinary, and the sense that what you are looking at is not just an image but an interior landscape, something the artist had to travel to in order to bring back.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe original gold metal frame holds it with quiet authority. The toning to the sheet is light and even — the warmth of nearly fifty years, fitting for a work about what endures.\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"Dietrich Schuchardt","offers":[{"title":"Default Title","offer_id":44844997869602,"sku":null,"price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_DietrichSchuchardt_STeine_Hand-ColoredEtching_002_RT_WEB_9cc8d595-dde0-428f-a0ae-22ceeea6dcd6.jpg?v=1771443030"},{"product_id":"henri-matisse-fruits","title":"Fruits","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eIn the fall of 1964, the French Embassy and the Smithsonian Institution organized a traveling exhibition to celebrate one of the most consequential print studios in the history of Western art: Mourlot Frères, Paris. To mark the occasion they produced a limited edition catalog — 2,200 copies total, printed on velin d'Arches paper — and inside it, bound alongside original lithographs by Picasso, Chagall, Miró, Calder, Giacometti, and Cocteau, was this: a lithograph by Henri Matisse, titled Fruits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eFruits\u003c\/em\u003e is that print, separated from its catalog and framed. Which means what you are looking at is an original lithograph produced by the most celebrated print studio of the 20th century, in an edition that traveled the museums of America under the joint authority of France and the Smithsonian, in the company of virtually every major name in postwar European art. Unsigned and unnumbered as issued — this was standard for the edition, not an exception — and printed with the precision that made Mourlot Frères the destination for any painter who wanted to understand what lithography could do. Matisse himself had been a collaborator with the studio for decades, and it was largely at his urging that Picasso first walked through Mourlot's door.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe composition is Matisse at his most distilled: pure color, fluid line, form built from the inside out rather than drawn from the outside in. Fruit as form. Color as structure. Simplicity as the result of enormous discipline rather than its absence. Matisse spent his entire career arriving at this quality of mark — the cut-outs, the late works, the gouaches — and \u003cem\u003eFruits\u003c\/em\u003e sits squarely in that late visual language, where everything unnecessary has been removed and what remains is completely alive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe toning to the sheet is light and even, consistent with sixty years of existing in the world. The ornate gold frame holds it with the ceremony the provenance deserves. The COA accompanies it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Henri Matisse","offers":[{"title":"Default Title","offer_id":44855462363170,"sku":null,"price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_HenriMatisse_1950_Lithograph_005_RT_WEB.jpg?v=1771608895"},{"product_id":"jill-reese-portrait-of-a-woman","title":"Portrait of a Woman","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThere is a specific visual language in 19th century American folk portraiture that is immediately recognizable once you've spent time with it — the sweeping red curtain pulled to one side, the lace collar at the throat, the botanical held at center as both object and symbol, the subject looking directly out at you with a calm that reads less like composure and more like certainty. It is a formal language built on convention, but in the hands of the artists who understood it, those conventions carried genuine weight. Susan Catherine Waters painted it. Ammi Phillips painted it. Erastus Salisbury Field painted it. The tradition is real and it is serious.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eIn the late 20th centrury, Jill Reese painted it too. Oil on canvas, signing her name to the lower right - she painted it not as parody or pastiche but as someone who had looked long and hard at these works and wanted to live inside their logic for a while. The red curtain is there. The lace collar is there. The rose held in the subject's hands is there. The gaze is there, level and unhurried, the kind of stillness that the best portraits in this tradition carry without explanation. She understood the grammar well enough to speak it fluently.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWho Jill Reese was beyond this canvas, I cannot tell you. No documented exhibition history, no biographical record I've been able to locate. What I can tell you is that the painting is confident, the reference is intentional, and the craquelure across the surface has given it an age that suits it perfectly — as though the work has quietly decided to become the thing it was always in conversation with.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jill Reese","offers":[{"title":"Default Title","offer_id":44855902634018,"sku":null,"price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_JillReese_PortraitOFAWoman_OilPainting_004_RT_WEB.jpg?v=1771610050"},{"product_id":"larry-rohlfing-tree-full-moon","title":"Tree \u0026 Full Moon","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eI may not be able to tell you much about who Larry Rohlfing was, there is no auction record, no gallery biography, no exhibition history I can find. What I can tell you is that he was Ohio-based, that he signed his name into the lower edge of this drawing — not beside it, not beneath it, but woven into the composition itself, as if the signature was always part of the work — and that the drawing is, without qualification, the work of a patient hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eA single tree. A full moon behind it. And at the base of the tree, so quiet you almost miss it, the moon again — reflected in a small pool of water, the whole world compressed into that one still surface. Pen on warm paper, monochromatic ink that reads almost brown in certain light, with nothing extraneous, nothing decorative, nothing that shouldn't be there. The economy of the mark-making is total. The image holds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe brown mat doesn't just frame the drawing — it gives the tree the gravity its spare lines can only suggest. The warmth of the paper, the warmth of the mat, the darkness of the frame: everything in the presentation deepens what the image began. This is a piece that rewards the person who slows down in front of it. The longer you look, the more it gives back.\u003c\/span\u003e\u003c\/p\u003e","brand":"gallery ATARAH","offers":[{"title":"Default Title","offer_id":44855942250530,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_LarryRohlfing_TreeandFullMoon_Drawing_012_RT_WEB.jpg?v=1771611031"},{"product_id":"lela-cooney-the-red-fiddle","title":"The Red Fiddle","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eShe dressed herself in scarves, rings, fingerless gloves, and a turban. At her neck she always wore a small framed painting made into a brooch. On afternoon walks through Covington, Kentucky, she carried her sketchbook and paints. She had studied at the Art Academy of Cincinnati, graduated from the University of Kentucky, taken herself to Paris and to Mexico, and sat under Hans Hofmann — the same Hans Hofmann who shaped the entire generation of American abstract expressionists — and come back home to Kentucky and kept making work anyway. Lela Cooney was born in 1904 and died in 1995 at the age of 91, and the word her obituary used to describe her was not \"painter\" or \"teacher\" — it was that she \"carried contagious optimism.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eThe Red Fiddle\u003c\/em\u003e is marker on paper, signed, dated 1960, and it has the quality of someone who knows exactly what she is doing and has stopped trying to prove it. The fiddle doesn't emerge from a defined outline — it emerges from layered mark-making, color and line building the form together, the whole composition carrying a rhythm that makes the subject feel less like an object and more like a sound. This is what Hofmann's influence sounds like when it has been fully absorbed and made personal: not an academic exercise in abstraction but a piece of music rendered in marker, loose and confident and alive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eCooney worked as Art Director for Covington Public Schools and later at Baker-Hunt, teaching children and adults for decades. Her paintings appeared at the Cincinnati Art Museum. A piece she made of the Mormon Tabernacle Choir — described as a dramatic interpretation of powerful music in surges of blue and yellow — hung for years in the Kentucky Post building. She was regional in her life and entirely uncontained in her vision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis is an original work on paper in its original frame and mat, reset with new Museum Tru Vue glass. Some fading to marker pigment consistent with age, minimal mat burn, light wear to the frame — all of it expected, none of it diminishing. The fading is sixty years of existing in the world. The work is still louder than the room.\u003c\/span\u003e\u003c\/p\u003e","brand":"Lela Cooney","offers":[{"title":"Default Title","offer_id":44855989567522,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_LelaCooney_TheRedFiddle_MarkerDrawing_1960_002_RT_WEB.jpg?v=1771611459"},{"product_id":"louise-nevelson-four-in-the-morning","title":"Four in the Morning","description":"\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003eLouise Nevelson is one of the great figures of 20th century American art — not a footnote, not a footnote to a footnote, but a central, world-altering presence whose work hangs in MoMA, the Tate, the Centre Pompidou, the Smithsonian, and a plaza in Lower Manhattan that bears her name. She was the first woman sculptor represented by Sidney Janis Gallery. The Whitney gave her a retrospective in 1967, then another in 1980. Helmut Newton photographed her. Richard Avedon photographed her. She wore false eyelashes made of mink and showed up to Chiron Press every day for months in the winter of 1965 to make these prints, and she was, by all accounts, easy to work with and almost mellow — a woman who had survived enough that nothing rattled her anymore.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eFour in the Morning\u003c\/em\u003e comes from the Façade suite, one of twelve prints Nevelson made in 1966 as a tribute to the British poet Edith Sitwell, who had died two years earlier. Sitwell's own Façade — abstract poems set to music by William Walton, originally performed with Sitwell herself speaking from behind a curtain through a megaphone — was exactly the kind of radical, cross-disciplinary act that Nevelson understood instinctively. She didn't illustrate the poems. She responded to them the way one artist responds to another: obliquely, personally, from her own interior.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe process she used to make these prints is the part that stays with me. She began by screenprinting photographs of her own sculptures onto paper — and immediately felt they were too flat. So she and her printer Steve Poleskie began cutting the images apart, collaging the fragments onto acetate, building new compositions from the residue of the original. They photographed those collages back into screens, layering acetate over wove paper until the image had dimension, shadow, and the unmistakable quality of something that had been physically assembled rather than simply reproduced. Brice Marden — before he was Brice Marden — was a studio assistant at Chiron Press that winter. The room where this print was made was not a minor room.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhat you receive is this: a photographic collage screenprint on wove paper with screenprint on acetate overlay, signed and dated in pencil by Nevelson herself, numbered 76 from an edition of 125, published by Harry N. Abrams in collaboration with The Pace Gallery, New York. The structure you see in the image — those vertical forms that suggest columns, or stacked boxes, or something almost Roman in their monumental composure — are her own sculptural designs, photographed, cut apart, and rebuilt into this. The monochromatic palette is not a limitation. It is the whole point. For Nevelson, black was not absence; it was everything, the color that contained all other colors, the silhouette of the universe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe print is in excellent condition. The frame is original vintage silver metal, which holds it with a restraint that suits the severity of the image. I have never seen any works from this suit in this condition, framed as this one is framed, carrying what this one carries. The old art world — the world of Pace Gallery and Harry Abrams and Sidney Janis and artists who showed up every day in winter to invent new processes alongside master printers — lives in this object. That world produced very few things of this quality that still move through private hands, and this - this is one of them. This is a piece that I personally desire to keep in my private collection, but with the love of spreading beautiful things into the homes of my community, I offer it here to you now. \u003c\/span\u003e\u003c\/p\u003e","brand":"Louise Nevelson","offers":[{"title":"Default Title","offer_id":44856103927842,"sku":null,"price":2850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_LouiseNevelson_FourintheMorning_1966_003_RT_WEB.jpg?v=1771612702"},{"product_id":"unknown-master-godslay","title":"Master Godslay","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThe name on the back of this piece is all we have — two words written in an old hand: \u003cem\u003eMaster Godslay\u003c\/em\u003e. In 18th and 19th century British and European portraiture, \"Master\" was the formal honorific given to young boys of rank, which tells us something about who he was, even if everything else has been lost. The painter is unknown. The source is unknown. What remains is the boy's name, his face, and this extraordinary frame.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe print itself is thin and delicate — light paper, no plate marks, no text — consistent with a lithograph pulled from a 19th century book or folio. Illustrated compendiums, peerage records, biographical histories: these were the vehicles through which portraits of aristocratic families traveled in the 1800s, reproduced and bound and eventually separated from whatever context gave them their original meaning. This one was separated long ago, but someone, at some point, decided it was worth keeping — and thus put it in one of the most serious frames they could find.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eAnd though the pictured young boy is wonderfully portrayed, the frame was originally the main reason I collected it. It is florentine carved gilt, cream and gold, with a depth and layered construction that you rarely encounter — the wood built up in tiers, each edge carved and gilded, the whole surround projecting forward with a confidence that borders on architectural. It is not decorative in the way that most ornate frames are, it is structural, deliberate, the kind of object that was made to matter. The portrait inside — the young boy in a ruffled collar, rendered in the soft atmospheric manner of 18th century English portraiture, in the tradition of Romney, Gainsborough, and Hoppner — is beautiful and quietly mysterious. But it is the frame that announces the piece from across a room.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe fading and craquelure are consistent with genuine age. The mystery is not a gap — it is part of what the collector inherits. The drama of this piece will outlive us all, something I smile at knowing.\u003c\/span\u003e\u003c\/p\u003e","brand":"Unknown Master","offers":[{"title":"Default Title","offer_id":44856137416738,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_Master_Godslay_003_RT_WEB.jpg?v=1771617331"},{"product_id":"unknown-a-happy-child","title":"A Happy Child","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eAmerican folk portraiture has always struck me as one of the more quietly dramatic traditions in the history of painting — the frontality, the formality, the slightly unreal quality of the figures, children rendered with a gravity that belongs to adults. There is something genuinely strange and wonderful about it, and this piece has that quality in full. She stands at the center of the frame with complete self-possession: her yellow dress, coral beads, a pull-horse at her side, a dreamlike landscape dissolving behind her. The painter — whoever made the original, and whoever reproduced it here — understood that a child depicted this way becomes somehow timeless. Not a portrait of a specific girl but of childhood itself, held still.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis is a late 20th century offset lithograph after the 19th century American folk tradition, honestly presented as such and priced accordingly. It came to me having already lived a life — an old gallery label still on the verso from Town Center Gallery in Novi, Michigan tells you it has been considered, framed, and loved before. The presentation is careful: deep forest green mat, cream liner, dark wood frame. It arrived ready to hang and has been ready ever since.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eI chose it because it made me smile. It has a cheeky lightness to it that I think is genuinely useful — the kind of piece that holds its own on an empty wall, adds levity to a serious collection, or brings something warm into a dark corner.\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"Unknown","offers":[{"title":"Default Title","offer_id":44856230871074,"sku":null,"price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_PlayfulYoungGirlinYellowDress_OffsetLithograph_019_RT_WEB.jpg?v=1771617794"},{"product_id":"rhoda-staley-florals-black-white","title":"Florals Black \u0026 White","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThere is a particular joy that lives in this piece, and I like to think it was put there intentionally. Rhoda Staley was a Long Island artist, exhibiting in curated group shows in the late 1970s alongside other serious makers — but beyond that, the record of her life is sparse., though the power in her work is not.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e \u003cbr\u003eThe blooms are simultaneously in focus and out of it; full and present, held together by confident gesture, and yet dissolving at their edges. That is the watercolor doing what only watercolor can do — that particular bleed from tone to tone, that soft gradation that cannot be forced or faked, only coaxed. The contrast is stark on paper but warm in person, the blacks rich with warmth rather than cold, the neutral ground of the sheet deepened by age into something almost sun kissed. The mat carries that warmth further; the toning of time has made it precious rather than diminished it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe frame is original — thin, delicate, black with faint gold detailing — and it does something unexpected: it makes both itself and the work feel bolder for the pairing. Something about the restraint of it. The whole thing holds together the way quiet things sometimes do, with more authority than you expect.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eRhoda Staley is not a household name, and though the record of her life is thin - this piece, and a handful of others in the same idiom, show her committed hand, and love for flowers rendered at the edge of abstraction. I like to imagine her painting this with a smile on her face, knowing the joy it would carry forward.\u003c\/span\u003e\u003c\/p\u003e","brand":"gallery ATARAH","offers":[{"title":"Default Title","offer_id":44856234508322,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_RhodaStaley_Floral_Watercolor_BW_005_RT_WEB.jpg?v=1771618290"},{"product_id":"unknown-rococo-scene-on-wood","title":"Rococo Scene on Wood","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eI studied Fragonard's \u003cem\u003eThe Swing \u003c\/em\u003ein college and never forgot it — that famous painting that seems, on its surface, so light and carefree, and reveals itself slowly as something far more charged. The kick of the shoe, the lifted skirt, the man positioned below with his upturned gaze. Fragonard knew exactly what he was doing, and so did everyone who saw it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhen I came across this piece, I recognized the subject immediately — a woman on a swing, figures gathered in a lush pastoral landscape, the whole scene humming with that same Rococo energy of pleasure barely contained. What I didn't know yet was how deep the lineage ran. This composition belongs to Jean-Baptiste Pater, Watteau's only true pupil and his closest artistic heir — and the swing itself, as a motif, originates even earlier, with Watteau, who first gave it that quality of suspended desire that Fragonard would later push to its most explicit conclusion. To hold this painting is to hold a link in that chain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003ePater painted \u003cem\u003eLa Balançoire\u003c\/em\u003e in the early 18th century, and it entered the canon immediately — versions now live at the Huntington in California and the Fitzwilliam Museum at Cambridge. This work is a 19th century painted copy in oil on wood panel, made by an unknown hand but made with real skill and evident admiration for the original. The palette has deepened with age into those amber and ochre tones that only time produces; the craquelure runs across the surface like a map of everything the piece has witnessed. It is not a print, not a reproduction — it is a painting, and it has lived.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe frame is the piece's most eloquent witness. Ornate antique gilt with scrollwork and floral embellishments, worn through in places down to the wood beneath — it does not look like age, it is age. The distressing is not decorative. It is documentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eTo collect this painting is to become the next keeper of a subject that has moved through centuries of hands — from Watteau's invention, through Pater's devotion, through Fragonard's audacity, and into the hands of some unnamed 19th century painter who loved it enough to render it again. That love is still visible in every brushstroke.\u003c\/span\u003e\u003c\/p\u003e","brand":"Unknown","offers":[{"title":"Default Title","offer_id":44857287573538,"sku":null,"price":1300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2026_GA_Inventory_ECOM_RococoPainting_19thCent_HandPaintedOnWood_002_RT_WEB.jpg?v=1771662741"},{"product_id":"atarah-atkinson-the-specimen","title":"The Specimen","description":"\u003cp\u003eSomewhere in Rome I came upon this marble face. I no longer remember exactly where — and I've come to understand that loss is as much part of the piece now as the face is, the feeling reminding me of the way certain experiences blur at the edges the longer you carry them, the details dissolving while the weight remains.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAs I edited the series and began making the works, I kept being pulled back to this frame — caught on film, eclipsed in time, I knew it held a deep remembrance in me that needed to be expressed, and set free. As the piece took form, the process continued to hold the power of resonance I felt from the start, allowing me to think outside the box of 2D and instead create a tangible display that felt appropriate and honest to what I was processing.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe face, printed on silk, now sits on five steel spikes that penetrate it, pinning it to its base the way a collector pins a butterfly — not to destroy it, but to fix it in place, to mark its permanence, to say: this happened, and it is not going anywhere, so why not examine it, see what we can learn. The antique glass dome descends over the scene, sealing the drama inside its own stillness — preserved and displayed, the way we preserve and display the things we cannot ever fully release.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIt is about the delicate nature of childhood, about what gets forsaken in abandonment, and about what the people left behind are asked to carry, invisibly, indefinitely. The five spikes are not decorative — they are representations of those who remained. The marble face is cold, classical, and unreachable, which is exactly right. The glass holds it all in suspension: visible, contained, and never fully resolved. Available for reflection, but not alteration.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis is one of the two most personal works in Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857296748578,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2025_AA_BrightRuin_PR-MEDIA_SinglePieces_001_bd0104fa-1527-436f-81af-f2e625a67c29.jpg?v=1771663033"},{"product_id":"atarah-atkinson-the-moment-of-youth","title":"The Moment of Youth","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eI spent nearly four hours in the Roseto Comunale on the Aventine Hill that morning. The garden was quiet, the air thick with mist, as I moved through it slowly. I wanted to take my time there, embracing the calmness, the way one should when you know it's a moment you'll never get back. In the garden there were many buds in different transformative moments, but this rose stopped me in my tracks — it appeared to me fully open, at the precise peak of itself. Its deep red petals peering back at me, carrying the full weight of feminine vitality, bodily cycles, the visceral energy of something alive at its most alive — it seemed to hold a truth about the world that we all know too well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eThe Moment of Youth\u003c\/em\u003e is my attempt to catch that fleeting moment, and respond to its fragility by freezing it in time. This piece asks what do we hold on a pedestal, is it beauty or its illusion, and if we're able to stop time and let it last forever, does it still hold the same power? Or is it because it's fleeting that we cherish it so?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe ornate antique wooden frame with its oval opening insists on the preciousness of what's inside, and the custom black steel stand — fabricated here in Brooklyn — elevates the rose somewhere between object and offering, demanding the kind of attention we rarely give to things we know won't last.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857318277154,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/2025_AA_BrightRuin_PR-MEDIA_SinglePieces_002_813ee97b-6254-4a7f-b8cd-6bd1816438ec.jpg?v=1771663188"},{"product_id":"atarah-atkinson-leda","title":"Leda","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eI stood in the Galleria Borghese in front of Sodoma's \u003cem\u003eLeda and the Swan \u003c\/em\u003eand felt her delusion as if it was my own. The way she leans into him — into the swan, into Zeus — her expression somewhere between surrender and trance, like someone who has been convinced that what is happening to her is a beautiful and natural thing. I recognized that state. The veil of false love draped so carefully it feels like warmth until it doesn't.\u003cbr\u003eI didn't want to photograph what the painter painted. I wanted to capture what I saw, what I heard — what she felt.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eSo I decided on utilizing a classic invocation of motion blur, aiming my Nikon F100 directly at Leda, with precise exposure calculated, I simultaneously both released the shutter and shifted to the side. The intentional blur pulls Sodoma's Renaissance painting out of its fixed certainty and into something closer to what I believe was her actual experience — dreamlike, disorienting, the edges of reality dissolving the way they do when you are inside something that feels like love but is only pursuit, when you cannot yet see the difference between being chosen and being taken. Leda is not a photograph of a painting. It is a photograph of a state of mind.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhat follows that state is what the painting never shows — the abandonment, the aftermath, the slow return to a self that has been changed without consent. The ornate vintage gold frame places her back inside the tradition that romanticized her story for centuries, asking what it has always meant to look at a woman in that moment and call it beauty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857329942562,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250818_BRIGHT_RUIN_INSTALL_SINGLE-Leda_042_RT_FF_FR.jpg?v=1771663496"},{"product_id":"atarah-atkinson-the-gift","title":"The Gift","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eIn the Capitoline Museums, I found her — Bernini's \u003cem\u003eMedusa\u003c\/em\u003e, carved around 1630, her face caught in the precise moment of transformation. Not before. Not after. The instant in which what had been done to her was visibly rewriting who she was, the snakes already emerging, her expression holding the full weight of violation, betrayal, and the horror of witnessing yourself become what someone else decided you were.\u003cbr\u003eI stood in front of her and felt something I recognized.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eThe Gift\u003c\/em\u003e is a large-scale wall installation built from materials chosen to speak to each other the way trauma speaks to the body. A custom steel bow — patiniad, skeletal, its legs reaching outward toward the viewer the way a mantis extends itself, drawing you in — is draped with red silk that has been hand-burnt along its edges, the fabric flowing from the metal armature like something bleeding slowly away from the carcass of its once full, lustrous self. What remains is the evidence — of what was taken, and what endured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eAt the center of the bow, hanging free of restraints, is a small antique Italian oval frame — and inside it, the close up encounter with Medusa. She is the medallion of the exchange, the translator suspended between the structure and the viewer, between the artist and anyone who has ever been stripped of something they did not choose to give. She is why the bow exists. She is what the bow is mourning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eThe Gift\u003c\/em\u003e is about what we have left to offer after violation has moved through us and changed the nature of ourselves. It is about the beauty and the strength that remains in understanding where we have come from and what has shaped us — not despite the pain, but through it and because of it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis is one of the two most personal works in Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857338003490,"sku":null,"price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20251101_galleryATARAH_BrightRuin_TheGift_010_RT_WEB2.jpg?v=1771663794"},{"product_id":"atarah-atkinson-illumination","title":"Illumination","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThe Doria Pamphilj Gallery is one of the few places left in the world where time has been allowed to simply stay — its rooms holding original furnishings, wallpapers, and light fixtures exactly as they were, only slowly worn by the years. Moving through those halls, I came upon this large crystal candelabra sconce mounted against the wall, its arms spread wide and lit — not by candle but by the quiet electricity that now runs through the entire estate — casting warmth across the faded baroque floral wallpaper at its back, the floral shapes on the wall softened by age into something with dreamlike edges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eAs I photographed it I was drawn in, the darkness of the room gathering at the edges of the frame, the light at the center holding its ground. The crystal catches and multiplies what it is given, the way it always has, regardless of time — the sconce burns on, illuminating a room that time has been quietly reclaiming, indifferent to the entropy around it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThere is something genuinely moving to me about moments like these — beauty maintaining its power not despite its context but within it, light doing what light does even in a room the world has largely forgotten.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857351176226,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_053_RT_WEB.jpg?v=1772054176"},{"product_id":"atarah-atkinson-untitled","title":"Untitled","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eIn one of the quiet back rooms of the Villa Farnesina, I came across a corner where every layer that had ever existed on the walls was in the process of being stripped away — wallpaper, paint, plaster, all of it peeling back simultaneously, as though the building itself was being asked to shed everything it had accumulated and return to something more honest. I pointed my lens upward into the corner where the two walls met, drawn in by the darkness of it, the depth of it, the way the colors that emerged from underneath were so unexpected.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhat the stripping revealed was rich and moody — deep reds and burgundies showing through in patterns and designs, the layers beneath the surface bearing a warmth that the finished walls above them never had. It reminded me not of ruin but of anatomy, the inner workings of the building's body made suddenly visible, its circulatory system exposed — intimate and vital, the way a body is when you see beneath its skin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis is what buildings hold inside themselves, underneath all the careful finishing. Not emptiness. Something alive, something that has been there all along, waiting to be seen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857385091106,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_093_RT_WEB.jpg?v=1772054041"},{"product_id":"atarah-atkinson-foundational-1","title":"Foundational","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThe Villa Farnesina drew me back into its quieter rooms — the ones that exist without ceremony, away from the frescoed halls that draw the crowds — and it was there that I would find what I was looking for. In one of these undecorated spaces, I came across a section of ornate plasterwork molding at the edge of a wall ceiling — its surface split by a large crack running through it, with smaller ones branching off around it, tracing paths through every carefully wrought curve like veins beneath skin, the foundational elements of the wall in quiet dispute with themselves. I photographed it as close as I could, the crack in the wall becoming the canyon of curiosity and history I longed to dive into.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe cracks run through the molding in ways that follow neither the original design nor any obvious logic — the surface splitting quietly from within while the overall structure continues to hold its shape. It is not collapsing. It is simply revealing, slowly and without drama, what accumulates inside the most carefully finished things over time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eFoundational\u003c\/em\u003e names what we build our lives upon — the elaborate care we put into constructing something that feels solid and complete. The cracks don't announce themselves. They accumulate slowly, running through the most carefully finished parts of what we've made, until the damage is too present to overlook.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857385484322,"sku":null,"price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_086_RT_WEB.jpg?v=1772053952"},{"product_id":"atarah-atkinson-cherubs","title":"Cherubs","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003ePalazzo Barberini was the first museum I visited on my trip to Rome, and this ceiling was one of the first painted ceilings I stood beneath in that city. It was a small entrance room, and the fresco was minimal — soft, faint pastel cloud strokes dissolving toward the edges — but at the center, a cluster of cherubs held aloft the Barberini family's bee medallion as though presenting it to whoever walked beneath. I tilted my lens upward and photographed it on 35mm film, thanking the cherubs for their gift.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThere is something so deliberately gentle about the vision — dainty, whimsical, an offering of peace. And yet standing in Rome, in a city that has survived invasion, collapse, and reinvention more times than any one civilization should have to, the gesture reads differently. These cherubs have been holding that medallion up through all of it, suspended in their soft clouds above centuries of everything peace is not. Their smiles lie but at the same time tell the only truth they knew — what they believed in was worth fighting for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eCherubs\u003c\/em\u003e is an archival giclée print held in a contemporary black wood frame with gold accents — the gold a quiet echo of the fresco's warm amber tones, the black grounding something that might otherwise float away entirely.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857386303522,"sku":null,"price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_084_RT_WEB.jpg?v=1772053845"},{"product_id":"atarah-atkinson-gaurdians","title":"Guardians","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eSan Carlo alle Quattro Fontane is one of Rome's most astonishing pieces of architecture — a baroque church designed by Francesco Borromini between 1638 and 1667, its undulating facade carved with figures, niches, and sculptural drama all compressed into a space so small it is nicknamed San Carlino. Standing in front of it feels less like looking at a building and more like being looked at by one.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eAs I stood below these carved life size angels, what stopped me at first was not the figures themselves but what they were holding between them. A large circular medallion, central to the composition, flanked on either side by stone guardians whose entire posture and purpose is directed toward it. It is empty. Whatever it once held — or was always meant to hold — is not there. And yet they remain, arms raised, attending to the absence with the same devotion they would give to anything precious.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eGuardians\u003c\/em\u003e turns on that quiet persistence — the human need to place protective figures at the edges of our lives, and build watchfulness into the very architecture of how we move through the world. What we guard against shifts. What we guard over sometimes disappears entirely. The impulse to uphold the duty does not.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857386532898,"sku":null,"price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_079_RT_WEB.jpg?v=1772053759"},{"product_id":"atarah-atkinson-untitled-1","title":"Untitled","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003ePalazzo Barberini is one of Rome's great baroque palaces, its halls filled with centuries of accumulated art and drama. But nothing quite prepared me for the moment I turned a corner and found myself standing in front of her —\u003cem\u003e La Velata, the Vestal Virgin Tuccia,\u003c\/em\u003e carved in marble in 1743 by the Venetian sculptor Antonio Corradini and never moved from this place since. She has been here for nearly three hundred years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eI stood in front of her, working my mind around what I was looking at — Corradini's technical achievement is almost impossible to rationalize. The veil is marble, the same marble as the face beneath it, and yet it behaves like fabric, clinging and translucent, every feature of her face perfectly visible through it. But what struck me most was not the technique. It was her. The way she holds herself. The veil does not feel imposed — it feels chosen. Like a shield she has drawn around herself, deliberate and dignified, marble made soft in service of her own protection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eI photographed her from the shoulders up, in portrait — close enough to feel the intimacy of that choice. The archival giclée print is held in a large dark contemporary metal frame that surrounds the image in depth, the figure emerging from the darkness of the frame, luminous and warm — the stone alive against all that surrounding weight.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857387057186,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_047_RT_WEB.jpg?v=1772053683"},{"product_id":"ancient-seams","title":"Ancient Seams","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThe Villa Farnesina is one of Rome's great Renaissance landmarks, its principal rooms covered in frescoes by Raphael that draw visitors from around the world. I moved through those manicured rooms and instead kept going, into the quieter spaces further back — the undecorated rooms that exist in the shadow of all that grandeur — and it was there that I found what I was actually looking for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eSigns of the past, moments of transition, proof of life; a section of the original damask wallpaper had begun to peel away from the wall beneath it, revealing layers of paint, plaster, what might be wood, all of it cracked, marked, and stained with time — there was even a small stripe of blue appearing almost like an accidental signature in the exposed surface. I photographed with my Hasselblad using my macro lens, trying to preserve as much detail to the 120 film as possible — I wanted to be sure I caught the feeling of the walls shedding its skin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eAncient Seams \u003c\/em\u003eis an archival giclée print held in a lacquered black contemporary wood frame whose angular edges catch the light and direct the eye inward — the frame itself pointing you toward the image, toward the seam, toward the place where things come apart and show you what they were always made of underneath.The seam is where breakdown begins, and also where the most honest information lives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857388892194,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_044_RT_WEB.jpg?v=1772053576"},{"product_id":"atarah-atkinson-tassels","title":"Tassels","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThe Doria Pamphilj Gallery in Rome is one of the few places left in the world where time has been allowed to simply stay. Still owned by the same aristocratic family that has inhabited the palazzo for centuries, its rooms hold original furnishings, tapestries, and silks that have never been replaced — only lived with, and slowly worn by natural elements. I visited with my film cameras, moving through rooms that felt less like a museum and more like a house that had been preserved in time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe windows were what caught my attention first, their frames adorned with their original silk fabrics, draped forever from initial intent. I drew closer and could see the deterioration of the fabric — holes worn through, layers missing, the curtains coming undone at their edges after decades of afternoon light falling across them in the same spot. The silk tassels hanging from the tie-backs were falling apart too, their threads unraveling, spent. The romance and pain of it all — everything it must have given to that room, and everything the room had taken without noticing. The photograph is printed as an archival giclée and held in an antique Florentine gilded frame with red velvet inside lacing, found at a Roman flea market — one of a pair, its companion now holding another image from the same gallery, that one instead showing the universal signal that something is too precious to be used.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eTassels\u003c\/em\u003e is about what it means to make something beautiful and then watch it spend itself in service of something else. The tassel was never the point — the curtain was, the light was, the grandeur of the palazzo was — and yet here it is, one of the last things standing, recognized at last for the life it gave.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857389678626,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_075_RT_WEB.jpg?v=1772053508"},{"product_id":"atarah-atkinson-distortion-2","title":"Distortion #2","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eAfter walking the Roman Forum, I found myself stepping into the quiet central courtyard of the Capitoline Museums — one of the oldest public museums in the world — where, almost without announcement, a marble finger the size of a small monument sits on a pedestal. It is a fragment of the colossal statue of Constantine, a figure so enormous that no complete reconstruction has ever been possible. What remains are pieces: a hand, a foot, a head, and this finger, larger than any human body, carved with the same precision as something meant to be seen up close and yet built to a scale that makes closeness feel beside the point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eI was essentially alone. The courtyard was still. I stood in front of it with my Hasselblad and felt the particular sensation of something familiar made unrecognizable — a finger, which I have always known the shape of, rendered so large it became something else entirely. I photographed it on 120mm film because I wanted to sit with that feeling rather than explain it away.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eDistortion #2\u003c\/em\u003e is an archival giclée print held in a small antique Roman frame — one of a pair I found together at a Roman flea market, the two now holding companion photographs from the same courtyard. The oval print itself measures just four inches; a finger that dwarfs the human body, now reduced to something you could hold in the palm of your hand. The distortion moves in every direction at once — the statue built beyond human scale, the photograph pulling it back down to something almost miniature, the ornate red velvet frame holding all of it with the reverence usually reserved for the precious and the intimate. The distortion in this piece is not a technical effect. It is the scale itself — because sometimes the things that loom largest in our lives, the problems, the fears, the old wounds, are not actually as large as they feel. They are bigger than life in the way a dream is bigger than life, vivid and consuming and real, until the moment you step back and realize you were always larger than what was frightening you.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857391611938,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_109_RT_WEB.jpg?v=1772053401"},{"product_id":"atarah-atkinson-weathered","title":"Weathered","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eWalking through Rome, you learn quickly that the most extraordinary things are rarely the ones announcing themselves. This staircase I came across on foot — what appeared to be the back entrance to a private estate — was not asking to be looked at. Three marble steps lead to a large patiniad iron gate, and beyond it, more stairs continue upward past walls of old plaster that has begun to peel back, revealing the layers of material and time beneath. Dried leaves had gathered and cascaded around the steps, unhurried, as though they belonged there. I stood there bearing witness because it felt like accidentally seeing something true about a place; so I took a deep breath, settled my Hasselblad and found the frame — one snap later I continued on my way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eWeathered\u003c\/em\u003e sits with the idea that deterioration and improvement are not opposites. What aging takes away in precision it returns in depth — in the plaster that peels to reveal what it was made of, in the gate that has darkened over decades into something richer than its original finish, in the leaves that have settled into the composition as naturally as if they were placed. The archival giclée print is held in a vintage wood frame with gold accents, aged itself, holding an image that asks us to reconsider what we mean when we call something ruined.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857395216418,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_094_RT_WEB.jpg?v=1772053284"},{"product_id":"atarah-atkinson-debris-1","title":"Debris #1","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eWhen you climb to the top of St. Peter's Dome it offers a unique perspective to understand, physically, what the Church intended. By the time you reach the outer lookout at the very peak, Rome has receded below you in every direction, and the scale of what Michelangelo designed — and what it meant, at the time of its completion, to build something this tall — settles into your body in a way that no photograph of the exterior ever quite prepares you for. It is monumental. It is intentional. It is a structure built to raise people to a vantage point they may never have experienced otherwise, and to remind them, at that height, of who made it possible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eI stood up there with my film cameras hanging from my neck, and turned away from the iconic view. What I saw and stared at instead, was the iron hooks embedded in the stone at the dome's peak — remnants of a functional past, once essential, now simply left. No plaque. No explanation. Forgotten by the institution that embedded them there, too high for most visitors to ever notice. \u003cem\u003eDebris #1\u003c\/em\u003e shows one of these hooks, patinated metal embedded into the weathered stone surface that fills the frame around it, presented here in an ornate antique metal frame with its original convex glass — the kind of frame usually reserved for large scale portraits of the important, the commemorated, the kept.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhat institutions preserve and what they abandon without ceremony are rarely the same thing. The hook has outlasted its purpose, even outlasted the memory of its purpose, and remains — not as monument, but as debris. The frame resets the perception and gives its grandeur back.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857395740706,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250818_BRIGHT_RUIN_INSTALL_Wide_Install_0331.jpg?v=1771666857"},{"product_id":"atarah-atkinson-untitled-2","title":"Untitled","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eI was wandering through one of Rome's quieter, more residential neighborhoods — the kind of streets that wind without announcing where they're going — when I came across a stretch of long marble walls covered in dried plants. They had rooted themselves into the cracks at some point during a warmer season and stayed, long after the green had gone, their amber traces trailing down the pale stone like a quiet record of everything they had survived. It was midday, raining on and off, and I stood there with my Hasselblad for a while before I knew what I was actually looking at.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe marble holds them still. Not as a grave, but as a kind of witness — the stone keeping the record of something that insisted on taking root in the narrowest possible space, and did, and remained. The archival giclée print is held in a vintage wood frame whose corners are carved with floral detail, the botanical language of the frame and the image finding each other across different centuries. Proof that even in the cracks, something can prevail.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857397215266,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_035_RT_WEB.jpg?v=1772052938"},{"product_id":"atarah-atkinson-budding","title":"Budding","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eOn one of my last mornings in Rome, I woke early and walked to the Roseto Comunale — a public rose garden on the Aventine Hill that, on that particular day, was wrapped in mist and a soft rain that came and went. The sunlight broke through in intervals, the kind of light that only exists when the weather can't make up its mind, and I spent nearly four hours there with my Hasselblad, moving slowly through the roses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eWhat stopped me the longest was not a bloom but what comes after — rose hips, the fruit produced once the flower has gone, seeds of the next cycle already forming inside. I leaned in as close as I could while keeping them in focus, aiming to draw out the quietness of their stillness. That moment now lives in the upper compartment of a late 19th century European trumeau mirror, replacing what was once a botanical painting with a botanical photograph — one era of image-making quietly succeeding another, while the frame and mirror hold the weight and honesty of what has come before.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThe mirror below does what mirrors do, but imperfectly — its glass worked in the églomisé tradition, gilded from behind and weathered by age into something silvered and fogged, the viewer's image returned to them altered. To stand before \u003cem\u003eBudding\u003c\/em\u003e is to see yourself through the lens of everything that has already passed, while looking up at what is quietly preparing to begin. Deterioration and renewal occupy the same frame, neither canceling the other out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin (2025), my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857397575714,"sku":null,"price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250818_BRIGHT_RUIN_INSTALL_SINGLE_BUDDING_001_RT_FR_910ad787-a085-4215-ae97-629073c6ea7e.jpg?v=1771667376"},{"product_id":"atarah-atkinson-by-any-means","title":"By Any Means","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eHere on a Roman street, a plant unbothered by the conditions it found itself in, has grown from the cracks of its marble home. When I came upon it, I chose to stop and bear witness to its perseverance, then capture it on 120mm film with my Hasselblad, because it felt less like a discovery and more like a reminder.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003e\u003cem\u003eBy Any Means \u003c\/em\u003eis an archival giclée print from that encounter, held in a thick black wood frame that I chose for the way its clean angular weight gives the image room to breathe without softening what it's saying. The contrast is intentional — the rigidity of the frame, the rigidity of the marble, all holding the delicate nature growing through both of them anyway.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis is not a photograph about struggle. It's a photograph about what happens after you stop fighting your circumstances and simply begin to grow within them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cbr\u003eThis piece is part of Bright Ruin, my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025. Learn more about the series here - Bright Ruin by Atarah Atkinson\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857400983586,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_090_RT_WEB.jpg?v=1772052733"},{"product_id":"atarah-atkinson-silenced","title":"Silenced","description":"\u003cp\u003eIn the Borghese Gallery in Rome, Bernini's\u003cem\u003e Rape of Persephone\u003c\/em\u003e has stood for four centuries, celebrated as one of the greatest technical achievements in the history of Western sculpture. I stood in front of it with a 35mm camera and found myself looking not at the spectacle of the craft, but at the details that told a different story — her face caught in the precise moment between shock and understanding, the hand gripping her thigh with fingers that press into stone as though the marble never hardened, and at the base of the sculpture, the dog, loyal witness to the wrong person, looking on.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003eSilenced\u003c\/em\u003e is a triptych of analog film photographs, each one an intimate detail drawn from that encounter, printed as archival giclée and held together within a single antique Roman frame that I restored myself. The oxidized metal skeleton is kept intact, its patina undisturbed, but backed now with black velvet that surfaces quietly through the gaps in the metalwork. The original oval convex glass remains; the frame has been given new life without being asked to forget what it is — and in that way, it mirrors the work exactly.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBernini's mastery has never been in question, and \u003cem\u003eSilenced\u003c\/em\u003e doesn't dispute it. It simply shifts the gaze away from the spectacle of the craft and toward the experience of the figure at the center of it, staying there long enough for the discomfort to settle in.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis piece is part of Bright Ruin, my series of over 45 unique works shot entirely on analog film over the course of 10 days in Rome, and first exhibited at Gallery ATARAH in September 2025. \u003cspan\u003eLearn more about the series here - \u003ca href=\"https:\/\/galleryatarah.com\/pages\/bright-ruin-by-atarah-atkinson\" title=\"BRIGHT RUIN by Atarah Atkinson\" rel=\"noopener\" target=\"_blank\"\u003eBright Ruin by Atarah Atkinson\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Atarah Atkinson","offers":[{"title":"Default Title","offer_id":44857402032162,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0809\/6959\/6962\/files\/20250816_BRIGHT_RUIN_INSTALL_SINGLE-Hanging_058_RT_WEB.jpg?v=1772046947"}],"url":"https:\/\/galleryatarah.com\/collections\/all-works.oembed","provider":"gallery ATARAH","version":"1.0","type":"link"}