Card case 1835 - 1845

Editor: Here we have a silver card case, made between 1835 and 1845 by Albert Coles. All the tiny woven details make it incredibly tactile and almost dizzying to look at. What is your take on this object? Curator: I see it as a fascinating glimpse into the social rituals of the 19th century. Consider what this object *is*: a container for calling cards. In a world governed by rigid social hierarchies and etiquette, these cards were essential for navigating social circles. Editor: So, the card case itself becomes a symbol of status and belonging? Curator: Precisely. This isn't just a functional item; it's a statement of identity and access. Silver, of course, signals wealth, and the intricate detailing speaks to the value placed on craftsmanship and refinement. Who had access to such artistry? Who was excluded? Those are the questions that intrigue me. The case embodies exclusion as much as it speaks to being exclusive. Editor: The engraving on the front seems quite personal. Curator: Absolutely. It suggests a specific owner, a member of a privileged class. But, consider also the labor that went into creating such an object. The silversmith, likely working in conditions far removed from the elegance the piece represents, brings up issues of exploitation of the working class in this era. Does the beauty of the object distract from these underlying inequalities? Editor: It’s like the object embodies a whole social structure. I hadn’t thought about the silversmith and their reality. Curator: These objects are never simply "things." They're loaded with stories, power dynamics, and often, uncomfortable truths. To see the beauty we must understand the complexities. Editor: I will never look at decorative art the same way! It makes me realize there are power dynamics in something as seemingly simple as a card holder.