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 plate measure or creamer from the Algonquin Club of Boston. This is a wonderful piece of nineteenth Century American history in both the club it originates from, and the patrons that it would have served along its journey. Built in 1888 and designed by New York architecture firm;  McKim, Mead and White, the Algonquin Club became 'the finest and most perfectly appointed club-house in America'. It was the first purpose-built clubhouse in the City of Boston and one of the earliest in the United States.

The design of the clubhouse represents an early example of the Italian Renaissance Revival style, which, over the next two decades, became the hallmark of city club architecture in the United States.  McKim, Mead and White also went on to design the fabulous Boston Public Library in 1895. McKim himself was an active member of the club, along with the great grandson of Thomas Jefferson, and President Calvin Coolidge, the thirtieth President of the United States. The club was hosted most of Boston's elite, but it also was regarded as a somewhat less privileged and 'old fashioned' membership program. It allowed membership to be acquired through good standing, achievements and not simply lineage. Even the name derives from the National family of Native Americans which included all of the important New England tribes.

The Algonquin Club had a rich history in collecting fine art, much of which dates to when Edmund C. Tarbell chaired its art committee. Tarbell, it may be noted, painted the stunning portrait of President Coolidge which hung in the club before taking this role. Tarbell was a member of the Ten American Painters, a group that “fundamentally altered the relationship of the artist to his audience” and stressed cohesiveness in exhibition design and installation. Through Tarbell’s influence and guidance, the club’s art collection includes important works by late nineteenth and early twentieth century American and European artists. Hudson River School paintings featuring pastoral scenes of sheep and cattle by James MacDougal Hart and sporting dogs by Thomas Hewes Hinckley. Dutch genre paintings and New England maritime paintings by Marshall Johnson hung between bronzes of Native Americans by Cyrus Edwin Dallin. A circa-1870 carved and polychrome tobacco store figure of a Native American, by Julius Theodore Melchers, sat prominently placed in the main stairwell near Theodore Baur’sBust of Crazy Horse.

The piece itself is a wonderful and well made, silver plated, five ounce measure, jigger or perhaps creamer, made by American silversmiths Reed & Barton. From what has been uncovered Reed & Barton made all of the servewear for the club as a few other dinner service pieces have been uncovered. It appears that this hand-engraved artwork used on this piece is from the 1920's/30's when the earlier utlised 'AC' logo made way for the full name of the club. The condition of the piece is superb throughout. It is fully marked on the base for Reed & Barton.

Charles E. Barton and Henry G. Reed first started working together as craftsmen at a small silversmith manufacturing company. They improved their craft in the company while moving up the ranks. In 1824, the men became presidents and re-named the company as Reed & Barton. Still in existence today, they have made items for the White House along with winning the 'Medal of Excellence' at the 1876 Philadelphia Centennial Exhibition, and producing the Olympic Medals for the 1996 Atlanta games.

A wonderful piece in its own right, but a fascinating piece of America's history and of club history in the country. The 'AC' has recently undergone a huge renovation and now lives on as the "Quin". A members club for a new generation of Bostonians. 

Price $0.00


Item Dimensions
3.5 inches (8.89cm)
3.2 inches (8.128cm)