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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A ten carat yellow gold signet ring. This is a classically designed signet ring in the industrial and geometric Art Deco style. The ring is made of solid ten carat yellow, and is marked '10' on the inside right of the shank. The gold shank is not fussy with a graduated band that tapers into the back with a simple cut corner rectangle setting rubbed edge mounting to the hard stone on the top and bottom edges. The hand engraved intaglio crest is set in hematite. The crest is a classic Roman Centurion with helmet with plumes of feathers atop. Beautifully hand carved and free of damage.

Hematite has occupied a distinctive role in the history of carved men’s rings, prized for its dense structure, deep graphite tone, and ability to hold exceptionally sharp engraving. In the classical world, Greek and Roman artisans favoured hematite for intaglios and personal seals, where the stone’s smooth, reflective surface allowed fine linear work to stand in dramatic contrast against gold settings. Roman signet rings often carried martial or mythological imagery, reinforcing hematite’s association with strength, authority, and protection, qualities that aligned naturally with male adornment and identity.

During the late 18th and early 19th centuries, the revival of classical taste brought hematite carving back into prominence. Grand Tour travellers returned from Italy with engraved intaglios mounted into heavy gold signet rings, and European workshops produced neoclassical profiles, heraldic devices, and monograms that echoed ancient precedents. Unlike brightly coloured gemstones, hematite offered a restrained visual language. Its cool, iron-like lustre suited the sober elegance expected of a gentleman’s ring, allowing symbolism and craftsmanship to take precedence over overt display.

By the early 20th century, hematite found renewed relevance within the graphic clarity of Art Deco design. Jewellers paired the stone’s polished black surface with platinum and white gold, using clean geometry and precise carving to emphasise form over ornament. Throughout its history, hematite carving in men’s rings has remained closely tied to notions of personal authority and lineage, bridging classical intaglio traditions with later movements that favoured structure, balance, and quiet strength.

The ring is American made, dating circa 1920's and is a US ring size 10. It can be sized if desired. Contact us upon purchase. 


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Item Dimensions
Height of front
.74 inches (0.0cm)
Width of front
.78 inches (0.0cm)