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 silver plated three-piece cocktail shaker. This stunning looking piece of archetypal Art Deco design is more than just a cocktail shaker. It is an iconic piece of design, and stands alone as a piece of art. The cocktail shaker has a one and a half pint capacity, which is the largest size made in this series. It features a large removable cap which serves as a double jigger, and features a removable strainer inside in order to strain the ice in the cocktail upon serving.

The cocktail shaker was designed by a New Zealand born architect and designer who worked across many disciplines as a ceramics, glass and metalware designer during his long and successful career.  He is considered one of the most influential designers of the Art Deco style. Born in Auckland,his family emigrated to England when he was 14. After the First World War he attended the Architectural School of Architecture (1919) and was elected an Associate of the Royal Institute of British Architects (ARIBA) on completion of his studies in 1921. In this same year he started work in the offices of Maxwell Ayrton. In 1928 he held his own illustrations show at Le Levre Gallery in London, but this was not to prove his passion.

The economic crash of 1929 forced him to seek other employment. His visits to exhibitions such as the 1925 Paris Exposition, and exhibition of Swedish Industrial Art in London (1931) inspired Murray to seek out opportunities to design homewares, and as the depression of the early 1930s further reduced the demand for architecture he became a full-time product designer. Murray first approached Arthur Marriott Powell about the possibility of working with Whitefriars Glass, in London. Though his ideas proved unsuitable for their style of glass, he worked as a freelance designer at Stevens & Williams of Brierley Hill in the West Midlands in 1932. The trial pieces were shown in London that year and the 'Keith Murray range' was produced. Between 1932 and 1939 he produced over 1200 designs though many were only issued in quantities of six or twelve.

In 1932 he also began working two to three months a year for Wedgwood. Josiah Wedgwood invited him to visit the Wedgwood Factory. He was then employed to produce designs for dinner and teaware. It is here that Murray’s famous ribbing designs began to form. His first range was entitled ‘Annular’. It was then in 1934 the Royal Silversmiths Mappin and Webb approached him and asked if he could produce bowls and vases in silver working to the same designs as his Wedgwood pieces. Murray’s designs were celebrated by modernist critics of the day and his design work appeared in exhibitions from the outset. In 1933 there was an ‘Exhibition of new Wedgwood shapes designed by Keith Murray’ at John Lewis in Oxford Street, his work appeared in the exhibition ‘British industrial art in relation to the home’ at Dorland Hall, and he was awarded a Gold medal at the 5th Triennale Milan in this same year. As well as Britain Can Make It (1946), his work featured in the exhibition of British Art in Industry (1935), the Paris Exposition (1937) and Design at Work (1948). In 1936 he was appointed one of the first ten Royal Designers for Industry (RDI) and when he became Master of the RDI Faculty (1945 to 1947) he acted as an assessor for the dinner or tea service section of the W.R.N.S. design and art competition (1945) and a competition for a design for a drinking fountain (1946), both managed by the Royal Society of Arts (RSA).

He acted as a jury member, with James Hogan RDI and Wells Coates RDI, for the RSA’s Industrial Art Bursary competition for pressed glass, and like Duncan Grant RDI, he designed flower vases for the first RDI reception held in 1950 that Princess Elizabeth (HM The Queen) attended as President of the RSA. Murray returned to his architectural career setting up a practice with Charles White in 1936. Their first major commission, appropriately, was the design of the new Wedgwood factory at Barlaston, Stoke on Trent and in 1939 he was made a Fellow of the Royal Institute of British Architects. After the Second World War he devoted himself to his architectural practice until his retirement in 1967. Their work included Hong Kong Air Terminal, the BEA Base at London Airport and numerous other industrial and office buildings. In 1951 he redesigned Wedgwood’s London showrooms with two other RDIs, R.Y. Goodden and R. D. Russell.

It is also worth noting that he served with distinction with the Royal Air Force and Royal Flying Corps during the First World War earning the Military Cross and the Croix de Guerre Belge, and from 1939 to 1941 he again served with the RAF.

This cocktail shaker is marked Mappin & Webb, London and Sheffield along with date letter "B", product reference number and the capacity of the shaker. The cocktail shakers from this period in Mappin & Webb's history are perhaps the finest examples made during the long history of this illustrious company.  Pair this with the uniquely identifiable deigns of Mr. Murray, and you have some of the finest pieces of barware ever made. The condition of the piece is excellent throughout, and can be used for making cocktails, it is easy to use, and clean making it a usable piece of art fit for any home today.  Made in England, circa  1937.

Price $1,895.00


Item Dimensions
Diameter at Widest Point
4.25 inches (10.795cm)
9.5 inches (24.13cm)