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 pig ornament with stylized hand engraved writing along its spine saying ""YE ANCIENT LUCKY PIG"". This charming and humorously made piece is very interesting in the way in which is has been designed. It has taken on the form of a wooden, theatrical style pig, complete with faux joins for the attachment of the legs.

It is really more of an art piece, which leads to the discussion as to whom may have commissioned such a piece. It does not appear to have been something that was mass produced, as only two more have been found.

The significance of the pig in some cultures are very important. They symbolise abundance, wealth and strength. “Schwein gehabt” (meaning “got lucky there!”  though literally: “got pig!”) is an oft-used expression in Germany. The simple reason for them being linked with good fortune is that to possess plenty of pigs was a sign of wealth and prosperity in the Middle Ages. In late Middle English þ (or 'thorn') came to be written identically with y, so that ‘the’ could be written ye. This spelling (usually ye) was kept as a convenient abbreviation in handwriting down to the 19th century, and in printers' types during the 15th and 16th centuries. It was never pronounced as ‘ye’ in the past, but this is the pronunciation used today.  It is simply an abbreviation for 'the'.

On the underside of the pig's chin is stamped the retailers name; "A. Barrett & Sons 63 & 64 Piccadilly". Andrew Barrett & Sons, born in Ireland in 1819 traded from this luxury retail premises from 1878 to 1910. The business then relocated to 157-158 Piccadilly. They were originally brush makers, and in 1900 expanded into trunk making. By 1910 they were making officers Sam Browne belts, trunks, shoes, boots and gun cases. By 1920 the sons RJ, HA, WE, and HH Barrett were heavily involved and Barretts moved to 9 Old Bond Street.  By 1935 they were dealing in curios, antiques, semi-precious stones, ivories and jade. As at 1975/6 they were still at 9 Old Bond St and were still describing themselves as 'brush makers'.

The pig was made in London, in 1902 by silversmith Stuart Clifford and is in excellent totally original  condition.


Price $0.00


Item Dimensions
4.875 inches (12.3825cm)
.5625 inches (0.0cm)