Walled City of Derry

Pick any four 4-inch tiles — National Parks you've been to, a Smokies set, the four seasons of one place. $ for a set of , cork-backed, ready to live on the table.

Each tile ships in a kraft box, tied with cream ribbon, with a handwritten note from the studio if you'd like to add one.

Three or five different vistas, hung together — a chapter of places you've been, or want to go.

The walls enclose the old centre of Derry in the north-west of Northern Ireland, on a hill above the river Foyle about three miles inland from the Atlantic. The town lies about 110 km (70 mi) north-west of Belfast.

The walls were built between 1613 and 1618 by The Honourable The Irish Society, a London consortium chartered under King James I as part of the Plantation of Ulster. They are the most complete city walls of their period in the British Isles.

Because the walls were never breached. The walls' most severe test came in the siege of 1688 to 1689, when Jacobite forces under King James II besieged the city for 105 days. The defenders held; the walls held; the nickname stuck.

The full circuit is about 1.5 km (just under a mile) and takes about twenty minutes at a steady pace, or an hour with stops. The walking surface is on top of the wall, with steps up at each of the seven gates.

No. Access to the walls is free, with no ticket and no opening hours. You climb up at any one of the seven gates and walk. The Tower Museum inside Magazine Gate is a paid ticket for the city's archaeological collection.

The four original gates from the 1613-1618 construction are Bishop's Gate, Ferryquay Gate, Butcher's Gate, and Shipquay Gate. Three later gates were added: Magazine Gate, Castle Gate, and New Gate. Each gives access up to the parapet walk.

The walled city was renamed Londonderry in 1613 by royal charter when the Plantation of Ulster placed it under the London livery companies. Many residents and the local council use Derry; the UK government and the Church of Ireland use Londonderry. Both are correct.

The walls are one of the most-loved landmarks in Northern Ireland, and for diaspora families they are often the first place a relative shows visitors. A Small or Medium tile with a handwritten note from the studio carries that connection well.

The stained-glass blues and warm stone tones of the artwork sit comfortably in Celtic-modern, traditional Irish-pub-aesthetic, and library-style interiors. The deep palette also works as a single statement piece in a minimalist room where most of the wall is otherwise bare.

The Voynich palette and the architectural subject sit naturally in the heritage-modern direction many readers and slow-room collectors are choosing right now. Paired with leather, walnut, dark green walls, and brass hardware, a Medium or Large finds its place at eye level over a reading chair.

Above a sofa, a single Large hangs proportionately for most standard three-seater couches. For longer sectionals, a 4-tile Mural carries the wall. Above a console table or hallway runner, a Medium or a 4-tile Mural anchors the space.

Yes, in our Dura Satin or Matte finish, which is scratch-resistant and built for moisture-prone vertical installations. The colour is slowly infused into the ceramic surface under high heat and pressure, so steam and splashes do not affect it.

A soft microfibre cloth and warm water are enough for routine cleaning. For tougher marks, add a small amount of mild dish soap. Avoid abrasive sponges and ammonia-based glass cleaners, which can dull the thin glossy finish over time.

Yes. Every WenderVista piece is original to the studio, painted by Reid Wender's eye and slowly infused into the ceramic surface under high heat and pressure. The work is not licensed from any other source.