1

A Day
Observed

A story presented by

Scene 1:
‘Morning’

It was a bright cold day with glassy surfaces that looked hard.
Into the square frame he stood as if in a dream.

What emerged was precisely what he expected to find: a reflection of memory images. Contemplating his face in the photo frame he waited.

1960s lucite and chrome 3 image photo frame

By the steady hands of his watch, he listened to time. Every day for the past sixteen days he saw her. Silver lingered in the crease of
an open book.

Rolex burlwood dial, Jubilee bracelet Miniature
oar English university trophy, sterling silver.

So absorbed in his thoughts
he hardly saw the platinum catch-all, the key, or the revelation locked inside those lapis lazuli cufflinks tossed unmistakably in cold blue.

Hans Hanson catch-all. Mid-century, Danish sterling silver. Stirrup money clip, by Hermès. Padlock keyring, sterling silver " Tie bar-slide " Round lapis lazuli cufflinks" Square cufflinks, two tone rose and yellow gold, diamond."

Only by whirling on his heel could he hope to comprehend
the panorama.

Shoe horn, circa 1930. American sterling silver
Scene 2:
‘Noon’

He remained.Trapped in that enormous room,
unmistakably familiar in feeling yet so peculiar.

Above the mantle was
displayed an Austrian hound
of impeccable integrity.

Hagenauer sculpture, 1930

His gaze fell on the letter opener. By accident she had learnt more about his life from the contents of that letter than anywhere.

Dunhill letter opener with lighter top, circa 1950

Cleopatra’s eye reflected
the sun. Through the hypnotism
of precious metals there
emerged a dark slender shadow.

Cleopatra’s eye magnifying glass. Mid-century, gold plated
Hermès weighted pen. Silver plated.

A lighter presented itself, smooth to the touch
it gave the impression of
intelligent company.

Table lighter St Dupont, circa 1960. Gold plate
Scene 3:
‘Evening’

All this time light was receding from the room.

“I should explain why I spend so much time here”, said the silhouette. Leaves moved like shadows across her eyes.

Hermès rope bottle opener. Plated silver.

It’s not too late to turn back. Time moved with faint sounds.

Venini hourglass. Hand-blown lurid Murano glass.

He unscrewed the telescopic cup, rolled and remained still. Black eyes on the dice prophesied a new cycle.

Telescopic cup, J. E. Cauldwell. Gold plated. Dice,
Cartier for America. Vitreous enamel glass, silver

Staring down at the varnished surface her mouth worried him while her eyes examined the gold cufflink.

Audemar Piguet evening watch. gold plated, Roman dial, alligator strap
Scene 4:
‘Night’

Everything went crashing black.

Pale graceful hands placed
the gold stud box delicately
on the table.

Men’s Edwardian jewellery box, 1910. Gold plated.
Mid-century British cigar ashtray. Sterling silver and crystal.

He lit a match to make sure the watch had really stopped. Smoke lingered from its vesta case.

Realist wrapped tobacco leaf march vesta. Silver.

As the travel clock neared
one the figure vanished into dappled shadows.

Art Deco Jaeger LeCoultre travel clock.
Gold and silver plated. Retailed by Aspray.

On the newly varnished table two bronze shot cups sat alive like in a dream.

Tooth shot cup by Foundwell. Bronze and silver plated.
Set of 4, 3 silver 1 gold. Heath & Midleton champagne decanters circa 1900.
Sterling silver and glass.
The End

‘A DAY OBSERVED’
A story by FOUNDWELL
Photography Matthieu Lavanchy, creative direction OK-RM,
notes by Kate O’Brien and objects selected by Alan Bedwell

‘A DAY OBSERVED’
A story by FOUNDWELL
Photography Matthieu Lavanchy,
creative direction OK-RM
notes by Kate O’Brien
and objects selected by Alan Bedwell

Early and Rare Sterling Silver Gorham Martini Mixing Bucket

Golf Cocktail Shaker
and Matching Golf Bag Cup

Sterling Silver Woven Bottle Coaster

Foundwell

A SELECTION OF ITEMS BY THE PRODUCER OF
CRAFTED GOODS & PURVEYOR OF ANTIQUE WATCHES,
JEWELLERY & OTHER SUCH OBJECTS

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An Art Deco solid fourteen carat white gold sapphire and diamond kite shape ring. This beautiful ring is an example of a classic Art Deco jewellery design. The large spread of the ring is dramatic on the finger ring, but yet finely cut lightweight pierce work making it a very comfortable ring to wear. The ring consists of a fine white gold shank with hand engraved shoulders, and a center kite-shape design set with a mix of round diamonds and baguette cut sapphires. The milgrain work and open work give the appearance of an eye catching look without heavy metal work.

Milgrain, which got its name during the Art Deco period, became extremely popular. Its elaborate detailing was actually made possible by platinum and the acetylene torch, which is why it is associated with luxury. Fine jewelry detail became widely accepted thanks to the geometric designs of the era and white gold. It's interesting to note that this detail resembled the delicate lacework of materials used in the Edwardian and Art Deco periods.

The center stone is surrounded by two tapered, round cut old European, beautifully bright and clean diamonds fading in size from the middle. The center diamond is estimated to be 0.4 carat, VS clarity and G/H colour. The stones drop off to approximately 0.3 to 0.2 carats each. In total there are fifteen diamonds with an estimated total carat weight of 2.7 carats.

With regards to the mix of stones themselves, this too is not without thought. Diamonds may be the traditional symbol of eternal love, but sapphires have their own timeless allure. Representing wisdom, loyalty, and fidelity, sapphires have become a popular choice for engagement rings, especially when paired with diamonds. The diamond's enduring brilliance speaks to the depths of love, while the sapphire's steadfast beauty signifies the faithfulness and honesty at the heart of a lifelong commitment. Together, these precious gems create a truly romantic and meaningful symbol of devotion.

The widespread use of synthetic sapphires is one of the defining characteristics of Art Deco jewellery. While laboratory-grown gemstones had been available since the late 19th century, their popularity exploded during the 1920s and 1930s as jewellers embraced the bold geometry, strong colour contrasts, and modern spirit that came to define the era.


The breakthrough came in 1902 when French chemist Auguste Verneuil perfected a method for producing synthetic corundum, the mineral family that includes sapphire and ruby. The process created stones that were chemically and physically identical to their natural counterparts, differing only in their origin. For jewellers, this offered access to vibrant, consistent blue stones at a fraction of the cost of natural sapphires.

The four baguette cut sapphires are synthetic stones. Art Deco designers quickly recognised the possibilities. The period favoured sharp lines, architectural forms, and striking colour combinations. Synthetic sapphires provided a reliable source of richly saturated blue stones that could be precision-cut into calibré shapes such as squares, rectangles, triangles, and baguettes. These stones were often used to create borders, geometric motifs, and dramatic contrasts against diamonds, onyx, rock crystal, and platinum.

The use of synthetic sapphires was not viewed as deceptive or inferior. Many of the finest jewellers of the period openly incorporated them into their designs. Houses such as Cartier, Van Cleef & Arpels, and Boucheron regularly employed synthetic stones when the design called for uniformity, precision, or a specific visual effect. In many cases, the decision was aesthetic rather than economic.

Today, synthetic sapphires serve as an important clue when dating and authenticating Art Deco jewellery. Their presence is entirely consistent with period manufacture and should not automatically be viewed as a negative attribute. In fact, original synthetic sapphires are often a sign that a piece remains untouched, retaining the materials chosen by the maker nearly a century ago.

Seen through a modern lens, synthetic sapphires were perfectly aligned with the Art Deco movement itself. They represented innovation, technological progress, and a fascination with the future. Much like the skyscrapers, ocean liners, and automobiles that inspired the era’s design language, they embodied the belief that modern manufacturing could produce objects of extraordinary beauty.

The inside of the shank is not stamped, but the ring has been tested with an XRF gun, and is confirmed as fourteen carat gold. This is a gorgeous period ring, bench made and is an example of fine vintage jewellery, the likes of which is not made today. The ring is in perfect condition throughout, and is a finger size 5 US. It can be sized if required.

Made in America, Circa 1930's.


Price $1,900.00

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Item Dimensions
Ring size
5 inches (12.7cm)