A Day

A story presented by

Scene 1:

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:

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:

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:

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

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



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A sterling silver, hand engraved business card case.  This is an exquisite example of a large sized business or "calling card" case from Victorian England.  This size, that comfortably fits both credit card and business cards is much harder to find as the average width of a calling card from this time was much more narrow.

The body of the both the front and back of the case is meticulously hand engraved with a repeating pattern of ivy spreading across it.  This is not merely decorative.  During Victorian times there were often hidden messages coded into items that were worn or carried by men and women.  This manor of messages were known as "sentimental" pieces.  Being very English, and reserved!, little was openly said or gestured, so these types of items were a way to express fondness to a loved one in a coded way.  The significance of ivy during Victorian times translated to; 'I cling to thee'.  A romantic notion of always being its the person, not matter near or far.  Ivy itself, being an evergreen plant, represents eternity, fidelity, and strong affectionate attachment.

The center of the front side has a cartouche with three beautifully hand engraved initials in a Victorian font, each shaded in a different style.  They do not detract, in fact the opposite, they enhance the period splendor of the piece.  The lid has a classic pinned hinge running along the side of the case.  It opens cleanly, not loose, and closes with a pleasing firmness into the body of the case.

Cases such as these make for beautiful wallets today.  They allow a number of credit cards, ID and any other card needed on a regular basis to be carried in a neat, clean and tidy way.  They also prevent the risk of contactless cards being cloned while in the pocket.

The card case was made in Birmingham, England, in 1896.  It has the makers marks of J W, however, this maker cannot be traced, meaning they were likely a smaller, artisanal silversmith.  This is certainly reflected in the quality and beauty of this piece.  The condition of the piece is exceptional, and shows no signs of damage.  The engraving is all strong and proud throughout the piece.

Price $695.00


Item Dimensions
3.8 inches (9.652cm)
2.7 inches (6.858cm)